Adieu, Screen Research

Screen Research is closing down on 18 January 2010. Thank you to all readers and network members. The work will continue elsewhere.

Top 50 documentaries

The Documentary Blog has produced an enticing, if contentious, listing of the top 50 documentaries of the past decade. Whatever you may think of the selection (heavy American bias, of course, and no consideration of television) or ordering, it's clear evidence of just how vital and popular the form has been over the past ten years:

50. Rize (LaChapelle, 2005) — Trailer
49. The Smashing Machine (Hyams, 2002) — Trailer
48. Lost in La Mancha (Fulton & Pepe, 2002) — Trailer
47. Dig! (Timoner, 2004) — Trailer
46. Protagonist (Yu, 2007) — Trailer
45. Ring of Fire: The Emile Griffith Story (Berger & Klores, 2005) — Trailer
44. Bowling for Columbine (Moore, 2002)
43. Rank (Hyams, 2006) — Trailer
42. Our Daily Bread (Geyrhalter, 2005) — Trailer
41. Helvetica (Hustwit, 2007) — Trailer
40. New World Order (Meyer & Neel, 2009) — Trailer
39. Best Worst Movie (Stephenson, 2009) — Trailer
38. The Cove (Psihoyos, 2009) — Trailer
37. Kurt Cobain: About a Son (Schnack, 2006) — Trailer
36. Tyson (Toback, 2008) — Trailer
35. Anvil! The Story of Anvil (Gervasi, 2008) — Trailer
34. When the Levee’s Broke: A Requiem in Four Acts (Lee, 2006)
33. Bus 174 (Padilha & Lacerda, 2002)
32. God Grew Tired of Us (Quinn & Walker, 2006) — Trailer
31. The Bridge (Steel, 2006) — Trailer
30. Dear Zachary: A Letter to a Son About His Father (Kuenne, 2008) — Trailer
29. 9/11 (Hanlon, Klug & Naudet, 2002) — Clip
28. The White Diamond (Herzog, 2004) — Clip
27. Deep Water (Osmond & Rothwell, 2006) — Trailer
26. Jonestown: The Life and Death of Peoples Temple (Nelson, 2006) — Trailer
25. Murder on a Sunday Morning (de Lestrade, 2001)
24. Hell House (Ratliff, 2001) — Trailer
23. Dark Days (Singer, 2000) — Trailer
22. Billy the Kid (Venditti, 2007) — Trailer
21. Crazy Love (Klores & Stevens, 2007) — Trailer
20. Young @ Heart (Walker & George, 2007) — Trailer
19. Fog of War (Morris, 2003) — Trailer
18. Zoo (Devor, 2007) — Trailer
17. Stevie (James, 2002) — Trailer
16. Man on Wire (Marsh, 2008) — Trailer
15. Spellbound (Blitz, 2002) — Trailer
14. The King of Kong: A Fistful of Quarters (Gordon, 2007) — Trailer
13. This American Life (Series) (Glass, 2007) — Trailer
12. Standard Operating Procedure (Morris, 2008) — Trailer
11. Touching the Void (Macdonald, 2003) — Trailer
10. Lake of Fire (Kaye, 2006) — Trailer
9. Metallica: Some Kind of Monster (Berlinger & Sinofsky, 2004) — Trailer
8. Encounters at the End of the World (Herzog, 2007) — Trailer
7. Manda Bala (Send a Bullet) (Kohn, 2007) — Trailer
6. The Staircase (de Lestrade, 2004) — Clip
5. Capturing the Friedmans (Jarecki, 2003) — Trailer
4. The English Surgeon (Smith, 2007) — Trailer
3. Paradise Lost 2: Revelations (Berlinger & Sinofsky, 2000) — Clip
2. The Devil and Daniel Johnston (Feuerzeig, 2005) — Trailer
1. Grizzly Man (Herzog, 2005) — Trailer


So what's missing? I for India, Etre et Avoir, My Architect, Taxi to the Dark Side...

Tagged documentaries

Project Canvas to go ahead (provisionally)

The BBC Trust has given provisional approval to the BBC's involvement in Project Canvas, the Internet Protocol Television (IPTV) project for which the BBC has partnered with ITV, Channel 4, Five, British Telecom and TalkTalk. Essentially Project Canvas has agreed a set of standards which will enable broadcast and Web content to appear on your TV screen, so with the help of a set-top box (expected to be in the shops in 2011) you can watch iPlayer on your TV, YouTube alongside BBC1, Facebook alongside ITV, and so on. You can also expect more in the way of 'tripleplay' services - i.e. the same concept/broadcast spread across TV, Web and mobile platforms.

Here is the BBC Trust's statement:

BBC Trust gives provisional approval to Project Canvas

22 December 2009

The BBC Trust has today given its provisional approval to the BBC's involvement in Project Canvas, saying that the likely public value of the proposal justifies any potential negative market impact.

Project Canvas is a joint venture between the BBC and five other partners to develop and promote a common standard that would allow viewers with a broadband connection to watch on their television sets on-demand services, such as the BBC iPlayer or the ITV Player, and other internet content, as well as ordinary linear television content. This would be via a device such as a set–top box connected to the internet. Viewers would have to have a broadband subscription but would not pay any additional subscription for the content.

The Trust has reached its provisional conclusions after a rigorous process of assessment, evaluating the evidence gathered and put to it about the proposal. There were more than 800 written consultation responses from individuals and industry stakeholders, and the Trust also spoke to more than 60 industry stakeholders and considered a range of other research.

The Trust is proposing some conditions on the BBC's participation in the venture, to secure public value and lessen any adverse impact Canvas might have on the wider market, where possible.

There will now be a period of consultation on the provisional conclusions closing on 2 February 2010, after which the Trust will reach its final decision.

Diane Coyle, Chair of the Trust's Strategic Approvals Committee, said:

"One of the BBC's aims is to bring the benefits of emerging communications technologies to the public.

"After careful consideration, the Trust has provisionally concluded that Canvas is likely to benefit licence fee payers. We believe Canvas could be an important part of the way in which the BBC delivers its services in the future.

"Our provisional conclusions include some conditions on the BBC's involvement. These conditions are designed to help secure the public value we identified and to help minimise, where possible, any potential harmful effects on the market. We will now be consulting industry and the public on our provisional conclusions. The last stage of the process will be to consider the responses to that consultation before reaching our final decision."

The Trust's decision is based on a Public Value Assessment and Market Impact Assessment that it has carried out on the proposals put forward by the BBC Executive. The Trust also took into account its own legal and regulatory responsibilities (including the BBC Fair Trading regime) and comments on the proposal made by industry stakeholders and licence fee payers. Details of the Public Value Assessment and Market Impact Assessment and the conditions of approval are below.

Trust's Public Value Assessment (PVA)

The Trust concluded that Canvas has high public value.

* It will add a new dimension to digital terrestrial TV by enabling an increase in the range of content and services available on the platform.
* It is intended to provide a high-quality user experience with a simple and consistent look and feel.
* There will be low barriers to access for new producers/providers of content who wish to get onto the platform – allowing a new range of low-cost services the opportunity to flourish.
* The creation of an open joint venture and engagement with industry can help deliver a common technical standard with features currently unavailable in the market.
* It may also help drive broadband take-up.

Canvas is therefore consistent with the BBC's public purposes including helping deliver to the public the benefits of emerging communications technologies and services.

Trust's Market Impact Assessment (MIA)

The Trust concluded that Canvas will affect a range of existing markets.

Positive impacts include:

* Growing demand for on-demand content on TV and, to a lesser extent, residential broadband.
* Offering a greater number of Internet Service Providers (ISPs) the opportunity to develop "stronger triple play" (phone/TV/broadband) offerings.
* Offering new entrants providing content to the market an accessible and affordable platform to reach the public.

Potential negative impacts include:

* It could slow the future growth in subscribers to some pay TV services.
* Contributing to the long-term shrinking of DVD rental and possibly retail markets.
* Negatively affecting existing or new smaller hybrid DTT/IPTV platforms.

The MIA also looked at the impact on ISPs' costs: video content is a heavy user of broadband capacity ("bandwidth") and Canvas may mean more video content needs to be carried. While there will likely be an increase in the cost base for some ISPs who support Canvas (given the greater bandwidth involved), it could also provide an opportunity for those ISPs to introduce differential charging.

Industry engagement

The Trust believes that the BBC should, as far as possible, engage with the wider industry to develop Canvas as a common, open standard. We have reflected this in our conditions below.

Main conditions of provisional approval

The Trust proposes to place a number of conditions on the BBC's participation in the joint venture. Many of these are designed to secure elements of the proposal where we saw particular public value as well as lessen negative market impact where possible. These conditions cover:

Industry engagement – the core technical specification must be published well in advance of launch to allow all manufacturers to adapt to the Canvas standard. The BBC must report to the Trust within twelve months of final approval or within three months of launch, whichever is the sooner, and at regular intervals on its progress in achieving industry consensus around technical standards.

Access to the platform for content providers – must be on fair, reasonable and non-discriminatory terms, with minimal technical requirements and content standards and access charges calculated on a cost recovery basis.

Access for ISPs - any quality standards for ISPs should again be set and applied on a fair, reasonable and non-discriminatory basis. This is designed to keep barriers to entry for ISPs to a minimum and avoid the proposal being linked to any one provider or service.

Syndication – a Trust review, twelve months after launch, to assess what, if any, effects Canvas has on the partners’ incentives to syndicate their content to other platforms.

Other key conditions of the BBC's involvement are designed to ensure public value:

Free-to-air – it must always to be possible to access the Canvas platform without a subscription.

Accessibility and usability – one year after launch, the BBC must report to the Trust on whether the proposed accessibility features, such as audio description, have been incorporated. At that point the Trust will also review signposting of content and parental controls, which we have asked Canvas to provide where possible.

Cost – the BBC must return for further Trust approval should costs incurred by the Corporation exceed (or be expected to exceed) the Executive's projections by more than 20 per cent in any one year.

Finally, there are some conditions to ensure compliance with the law:

* An independent audit must be carried out of relevant BBC research and development spending in order to verify that pre-launch Canvas-related BBC expenditure costs have been or will be shared equally between the partners.

* Where the BBC has already or proposes to frontload project spending by making initial commercial loans to the other Canvas partners, loans should also be available to the other or any new partners of the same creditworthiness on commercial terms.

* BBC involvement in Canvas must be kept operationally separate from its involvement in Freesat and Freeview.

Next steps

The Trust will now consult with members of the public and industry stakeholders on its provisional conclusions and then seek to publish its final conclusions as soon as possible after this.

Tuesday 2 February 2010 Consultation closes
Spring 2010 Trust publishes final decision

Look out for 3D Blu-ray

3D, as they keep on telling us, is coming to the living room, and now here comes this report via Ars Technica of the Blu-ray Disc Association approving a final specification to deliver high definition 3D movies on Blu-ray discs - which would be backwards-compatible, so you could play the discs on 2D machines (though without the 3D effect, fairly obviously):

http://arstechnica.com/gadgets/news/2009/12/hollywood-has-been-so-e...

Hollywood has been so enthralled with the recent renaissance of 3D in the theater that the Blu-ray Disc Association has finalized a specification for delivering full 1080p high definition stereoscopic video on Blu-ray discs. The format relies on an extension to the H.264 encoding standard, and provides for a fallback to 2D output on players that can't decode the separate stereoscopic images. It's been a long time coming, but along with a recent update to the HDMI spec and a coming wave of 3D-capable displays, the technology is now in place to deliver the full 3D experience at home.

The specification, which will be published shortly for device manufacturers and content producers, specifies encoding two separate 1080p frames together using the Multiview Video Coding (MVC) extension to the H.264 Advanced Video Coding (AVC) codec—one of the codecs already supported for creating Blu-ray discs. This method allows the two separate views, one for each eye, to be compressed together in such a way that common elements from both views are melded together. The result is that a 3D-encoded movie should typically only take up about 50 percent more space on disc compared to a 2D version, and players that aren't 3D-capable will be able to play back a 2D version instead, for backward compatibility.

Additionally, the specification is technology-agnostic when it comes to how to create the 3D effect. It will deliver two 1080p frames to the display, and the display will then use whatever method it can to create a 3D effect—whether it's passive filtered glasses, active filtered switching glasses, anaglyph, etc.

"Throughout this year, movie goers have shown an overwhelming preference for 3D when presented with the option to see a theatrical release in either 3D or 2D," said Victor Matsuda, BDA Global Promotions Committee chairman, in a statement. "We believe this demand for 3D content will carry over into the home now that we have, in Blu-ray Disc, a medium that can deliver a quality Full HD 3D experience to the living room."

Of course, taking advantage of that full 3D experience will still require an additional investment in compatible displays, Blu-ray players, and other necessary hardware like specialized (and often expensive) glasses. The HDMI 1.4 spec enables transfer of two full 1080p signals from players to displays, and a number of current 120 Hz 2D displays can be used for 3D viewing with special glasses. Also, suppliers like LG and Sony plan to launch 3D-capable displays in the coming months. New 3D-capable Blu-ray players will have to be manufactured, but PS3 owners will be delighted to know that the specification should be compatible with work Sony has already done to enable 3D gaming on its console.

Still, 3D discs will still play just fine on 2D players, which should mitigate a storm of customer indignation which would follow if backwards compatibility had not been addressed. "We think the broad and rapid acceptance Blu-ray Disc already enjoys with consumers will be a factor in accelerating the uptake of 3D in the home," Matsuda said. "In the meantime, existing players and libraries can continue to be fully enjoyed as consumers consider extending into 3D home entertainment."

It Felt like a Kiss again

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Adam Curtis' provocative film It Felt Like a Kiss has been made available online once more through his BBC blog. No indication of how long it will stay online this time, but best to catch it while you can (while heeding the warning that it does contain some disturbing scenes). See the previous Screen Research post for information on the film, and be sure to check out Curtis' The Medium and the Message blog in any case, which he is using to reinvent the documentary. His 'series' Kabul: City Number One is essential viewing and reading.

Paramount sell clips

Paramount Pictures is to launch a video clip service, where users can select clips online from hundreds of titles in the Paramount library, paying for them according to licensing use. The service launches today, for commercial users only so far, at www.paramountclips.com.

"The site, to be introduced on Tuesday, is powered by VideoSense, an automated indexing tool developed by the technology company Digitalsmiths. Using proprietary video interpretation systems, Digitalsmiths allows films to be quickly searched by specific actor, line of dialogue, location, genre or product, among other criteria. Paramount will initially restrict use to business customers — advertising agencies, mobile carriers, foreign broadcasters — that want to license pieces of films for commercial use. The plan is to ultimately open the site to consumers. People wanting to embed a specific scene from “The Godfather” on their blog could go to ParamountClips.com and buy it. The service reflects a renewed effort in Hollywood to create fresh content from existing libraries, much as ring tones became a blockbuster offering for the music industry. Movie and television studios, suffering from a steep drop in DVD sales, are hopeful that serving up clips can become a business in itself while also stoking demand for the films in their entirety."

New York Times

Tagged clips

BBC and British Library join forces

Press release from the British Library:

http://www.bl.uk/news/2009/pressrelease20091211.html

The BBC and British Library will today sign a Memorandum of Understanding (MOU), in an innovative approach to make the content and assets of both organisations more widely available.

Managed by a joint steering committee, the MOU seeks to develop new ways of integrating access to nearly a million hours of BBC TV and radio content and over 150 million British Library items - significantly increasing access to research material across both national institutions for the benefit of researchers and the wider public.
Signed by BBC Director General Mark Thompson and CEO of the British Library Dame Lynne Brindley, the MOU also proposes that the BBC and British Library collaborate to develop viable approaches on important issues -such as rights management, distribution of archive content, digitisation and storage.

Mark Thompson, Director- General BBC said "The BBC and the British Library share many of the same purposes - to guarantee public access to content in an open realm, creating a space where people can debate and exchange ideas and experiences. Unlocking the wealth of content in the British Library and BBC archives is a great opportunity as well as an immense challenge. It is vital we partner, harnessing the power of digital technology to give the public the access they deserve."

CEO of the British Library, Dame Lynne Brindley said: "Providing increasing access to our collections using digital technologies is a primary goal of the British Library. This partnership not only demonstrates that we are keen to share content for the benefit of today's researchers and the knowledge economy, but also expresses our continued commitment to supporting the government's vision of building a Digital Britain."

Dame Lynne continues: "Through this MOU we aim to create a model of best practice which will allow the Library to develop similar opportunities with other public institutions. Providing unparalleled access to joint information services and world-class digital archival content will truly enable the business, academic, scientific, research and creative communities to flourish."

The agreement follows MOUs signed earlier this year between the BBC and the British Film Institute and the BBC and The National Archives.

See also Guardian report, 'BBC and British Library to take joint approach to building digital ...'.

New website featuring fashion on film in the 1920s and 1930s

New ‘Screen Search Fashion’ website launched

http://www.brighton.ac.uk/screenarchive/fashion/

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A new website featuring fashion on film in the 1920s and 1930s is being launched this week. Screen Search Fashion has been developed by Screen Archive South East, at the University of Brighton, in partnership with the RCA funded by the Centre for Excellence in Teaching and Learning through Design (CETLD).

This free online resource offers a new way of looking at everyday fashion and dress history in the inter-war years through unique archive film held in Screen Archive South East’s (SASE) collections. The site provides a thematic guide to aspects of 1920s and 1930s fashion, as depicted in over two hundred newly digitized stills and clips, enabling the researcher to discover key aspects of fashion and dress of the period in their historical and design contexts. The site includes links to records in Screen Archive South East’s online database, where the films can be explored in further detail. The site also includes links to related resources held in archives, libraries and museums; a bibliography of related literature and a glossary of terms.

This new online teaching and learning resource is accessible to all, enabling material which has hitherto been underused for fashion research and study, to be opened up to a wider audience. The vast potential of non-fiction film as a resource for students interested in fashion and dress is highlighted by this resource which has the potential to contribute to dress historians’ developing interest in everyday fashions.

This resource is the result of a year long, CETLD-funded project, carried out at the Royal College of Art and Screen Archive South East, at the University of Brighton.


Screen Search Fashion can be visited at: http://www.brighton.ac.uk/screenarchive/fashion/

Further information/contacts:

• Screen Archive South East: 01273 643213
• Email: screenarchive@brighton.ac.uk

Project Canvas gains a website

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Project Canvas, the proposed partnership between the BBC, ITV, BT and Five to build an open internet-connected TV platform, has launched a website - www.projectcanvas.info. The site provides background information on Canvas (which still awaits final approval from the BBC Trust), covering objectives, content, partners and user experience. Included in a somewhat wordy site are mockups of how a potential Canvas delivery might look. The image above shows how the user-interface could work. Below shows what the application section might look like. As the site says, "as an open platform, any web-enabled service could build an application to feature on the platform. The platform itself would not serve as a gatekeeper - meaning access is subject only to meeting the standards and specification."

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So broadcast and broadband would come together, so long as any one service matches the technical standards that have been set, which is what Project Canvas is all about. Just think of it as what comes after Freeview or Freesat. What name it will have if and when it gets the go ahead isn't known - all that is known is that it won't be called Canvas.

CALL FOR ENTRIES!! DOCUMENTARY FILMS! DocMiami May 28-30, 2010!

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Submit Your Film Now! http://docmiami.org/Festival.html

Feature Documentary

Feature Documentaries with a total running time from 61 - 180 minutes. (All films in a language other than English require English subtitles)

Documentary Short

Short Documentaries with a total running time between 4 and 30 minutes. (All films in a language other than English require English subtitles)

MiniMovies

Very short documentaries and fiction forms plus all experimental genres allowed with a total running time of under 4 minutes (this is up to 3 minutes and 59 seconds, not a second more!) -- Go to the limit of documentary film making: free form -- free content --(All films in a language other than English require English subtitles)

Documentary Medium-Length and Essay Forms

Medium length documentaries and documentarian film essays with a total running time between 31 and 60 minutes. (All films in a language other than English require English subtitles)