Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music (Paperbaack)

Archival Storytelling is an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do verite' producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement?

Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them.

Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.

Additional praise for Archival Storytelling:
"I've been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Home and Into the Arms of Strangers

"One of the best-and most needed-[books] I have seen in a while..The challenge is to keep what is a fairly technical aspect of filmmaking interesting without compromising the quality and depth of information. The authors have done an exceptional job in this regard by the careful interweaving of interviews with researchers, filmmakers and legal experts through the factual material.There is the strong sense of being in the presence of experienced filmmakers and researchers who accept that while there are standard practices, archival use and intellectual property laws etc. are contingent fields in which each case must be assessed and dealt with on its merits." -Bruce Sheridan, Chair, Film & Video Department, Columbia College

"It's hard to imagine a more organized, comprehensive dissection of Byzantine material. The authors have produced a tremendous guide for all who use archival resources. Best of all, because of their effort, I believe more individuals will be able to access and properly utilize such material. This book will serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology

"Not simply a 'how-to' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films

"The book properly advances the notion that 'films matter,' but this is countered by discussants with 'films cost money too.' Filmmakers may take decades to recoup, and licensing helps. It's an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer's shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College

《檔案敘事》是一本對於當今電影製片人面臨的最具挑戰性問題之一的實用指南：如何使用屬於他人的圖像和音樂。製片人應該去哪裡找到價格合理的靜態圖片和影片素材？電影製片人如何評估檔案素材的歷史價值？紀錄片製片人在記錄充滿權利保護的圖像和聲音的世界時需要了解什麼？電影製片人如何保護自己的創作免受侵權？

《檔案敘事》充滿了來自電影製片人、檔案館員、電影研究人員、音樂監製、知識產權專家、保險執行官等的建議和見解。本書定義了關鍵詞，如版權、合理使用、公共領域、孤兒作品等，並呼籲電影製片人不僅成為檔案素材的使用者，還要成為檔案和版權的倡導者，確保他們作為創作者能夠不斷利用周圍的文化素材。

本書還包括與行業領袖的對話，包括帕特里夏·奧夫德海德、胡伯特·貝斯特、彼得·賈斯茲、珍·克拉維茨、勞倫斯·萊西格、斯坦利·納爾遜、瑞克·普林格、杰弗里·C·沃德等人。

《檔案敘事》獲得了業界的廣泛讚譽，馬克·喬納森·哈里斯（南加州大學電影藝術學院傑出教授、《漫長歸途》和《進入陌生人的懷抱》的編劇/導演）表示：“我多年來一直在製作歷史紀錄片，但我從這本書中學到了新的東西。這是紀錄片製片人的檔案研究的權威指南，是一個寶貴的資源。”布魯斯·謝里登（哥倫比亞學院電影和視頻系主任）表示：“這是我近期看到的最好、最需要的書籍之一...挑戰在於在不影響資訊的質量和深度的情況下，使相對技術性的電影製作有趣。作者在這方面做得非常出色，通過與研究人員、電影製片人和法律專家的訪談與事實材料巧妙地交織在一起。讀者能夠感受到與經驗豐富的電影製片人和研究人員同在一室的強烈感覺，他們接受了檔案使用和知識產權法律等的標準做法，但這些領域都是有條件的，每個案例都必須根據其特點進行評估和處理。”湯瑪斯·斯佩奇爾（賓夕法尼亞科技學院製片人）表示：“很難想像有比這本書更有組織、更全面的對拜占庭材料的解剖了。作者為所有使用檔案資源的人提供了一個巨大的指南。最重要的是，由於他們的努力，我相信更多的人將能夠訪問和正確利用這樣的資料。這本書將為電影製片人和公眾服務多年。”

此外，本書還引用了其他人對《檔案敘事》的讚譽，包括洛倫·S·米勒（自由紀錄片和戲劇編輯，愛默生學院）、達斯汀·奧格丁（電影製片人，Spoke Digital Films）和羅倫·S·米勒（自由紀錄片和戲劇編輯，愛默生學院）的評論。