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Vicki Davis

Chile's Student Uprising: 'There's a Story to Be Told' | International Political Forum - 0 views

internationalpoliticalforum.com/sing-theres-a-story-to-be-told

education news politics chile south america activism filmmaking

shared by Vicki Davis on 04 Feb 14 - No Cached
  • Vicki Davis on 04 Feb 14
     
    Increasingly activists are becoming filmmakers because video is the modern essay - traveling further than pamphlets by Patrick Henry, showing people in action fighting for freedom - or, in this case, free education in Chile, tends to cause change. Fascinating read and case study. "Roberto's son Pablo, born and raised in the UK, has worked on several documentaries on Latin America. He produced the documentary 'Inside the Revolution: A Journey Into the Heart of Venezuela', released in August 2009 by Alborada Films, and 'The Colombia Connection', released in November 2012. He has covered Latin America for various media outlets, including Al Jazeera English, the Guardian and the BBC. I spoke to Pablo about their forthcoming documentary on Chile's student movement and their crowdfunding campaign."
Dave Truss

RiP! A remix manifesto (Trailer) by Brett Gaylor, - NFB - 0 views

www.nfb.ca/...rip-remix-manifesto

copyright newliteracy

shared by Dave Truss on 18 Mar 09 - Cached
  • Dave Truss on 18 Mar 09
     
    Web activist and filmmaker Brett Gaylor explores copyright in the information age, mashing up the media landscape of the 21st century and shattering the wall between users and producers. The film's central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? Creative Commons founder Lawrence Lessig, Brazil's Minister of Culture Gilberto Gil and pop culture critic Cory Doctorow are also along for the ride
Vicki Davis

KOCE - 0 views

www.koce.org/filmonthefly

education learning edu_trends hz09

shared by Vicki Davis on 19 Mar 09 - Cached
  • Vicki Davis on 19 Mar 09
     
    The global film on the fly challenge. There was a challenge on March 14th - it is a mobile phone filmmaking contest.
Claude Almansi

Interviews with Orson Welles : pamstv : Free Download & Streaming : Internet Archive - 2 views

www.archive.org/...InterviewsWithOrsonWelles

interviews IA Internet Archive Bogdanovich Welles history literature cinema radio

shared by Claude Almansi on 11 Oct 11 - No Cached
  • interview 01
  • interview 03
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    • Claude Almansi
      Claude Almansi on 11 Oct 11
       
      other people's movies
    • Claude Almansi
      Claude Almansi on 11 Oct 11
       
      theatre
    • Claude Almansi
      Claude Almansi on 11 Oct 11
       
      radio
  • ...2 more annotations...
  • interview 02
  • interview 08
    • Claude Almansi
      Claude Almansi on 11 Oct 11
       
      "It's all True" documentary and influence on Welles' carreer
    • Claude Almansi
      Claude Almansi on 11 Oct 11
       
      Fairy stories, horror, children
  • Claude Almansi on 11 Oct 11
     
    Recordings of almost 4 hours of a series of interviews conducted by director/author Bogdanovich with Welles between the years 1969 and 1972. * * * * * * * * * * * * * In the late '60s and early '70s, filmmaker Peter Bogdanovich had conducted extensive interviews with Welles, but a number of circumstances--including the director's decision to compose an autobiography that he never got around to writing--kept the interviews out of the public eye. Finally edited and annotated by Jonathan Rosenbaum, these conversations give wonderful insights into Welles's craft and personality. He discusses his forays into acting, producing, and writing as well as directing, his confidences and insecurities, and his plans for film projects that were either never made or only partially completed. He also offers insights into the triumph of Citizen Kane and later masterpieces like The Lady from Shanghai, Touch of Evil, Othello, and Chimes at Midnight. His defense of his controversial adaptation of Kafka's The Trial is so fascinating that listeners might want to rush out and rent the film.
Ted Sakshaug

Folkstreams » The Best of American Folklore Films - 0 views

www.folkstreams.net

history documentary film folklore culture music media archive education socialstudies

shared by Ted Sakshaug on 08 Jun 09 - Cached
  • Ted Sakshaug on 08 Jun 09
     
    A National Preserve of Documentary Films about American Roots Cultures streamed with essays about the traditions and filmmaking. The site includes transcriptions, study and teaching guides, suggested readings, and links to related websites.
Caroline Bucky-Beaver

Code of Best Practices in Fair Use for Media Literacy Education - 1 views

wwwdev.ncte.org/...fairusemedialiteracy

medialiteracy bestpractices copyright fairuse 5 principles 2008 digitalcitizenship

shared by Caroline Bucky-Beaver on 12 Nov 08 - Cached
  • Fair use is the right to use copyrighted material without permission or payment under some circumstances -- especially when the cultural or social benefits of the use are predominant. It is a general right that applies even in situations where the law provides no specific authorization for the use in question -- as it does for certain narrowly defined classroom activities.
  • guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials
  • code of best practices does not tell you the limits of fair use rights. Instead, it describes how those rights should apply in certain recurrent situations.
  • ...30 more annotations...
  • Media literacy education distinctively features the analytical attitude that teachers and learners, working together, adopt toward the media objects they study. The foundation of effective media analysis is the recognition that: All media messages are constructed.Each medium has different characteristics and strengths and a unique language of construction.Media messages are produced for particular purposes.All media messages contain embedded values and points of view.People use their individual skills, beliefs and experiences to construct their own meanings from media messages.Media and media messages can influence beliefs, attitudes, values, behaviors, and the democratic process. Making media and sharing it with listeners, readers, and viewers is essential to the development of critical thinking and communication skills. Feedback deepens reflection on one’s own editorial and creative choices and helps students grasp the power of communication.
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • Educators and learners in media literacy often make uses of copyrighted materials that stand far outside the marketplace, for instance, in the classroom, at a conference, or within a school-wide or district-wide festival. Such uses, especially when they occur within a restricted-access network, do enjoy certain copyright advantages.
  • Law provides copyright protection to creative works in order to foster the creation of culture. Its best known feature is protection of owners’ rights. But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture.
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use? If the answers to these two questions are "yes," a court is likely to find a use fair. Because that is true, such a use is unlikely to be challenged in the first place.
  • Both key questions touch on, among other things, the question of whether the use will cause excessive economic harm to the copyright owner. Courts have told us that copyright owners aren’t entitled to an absolute monopoly over transformative uses of their works.
  • Another consideration underlies and influences the way in which these questions are analyzed: whether the user acted reasonably and in good faith, in light of general practice in his or her particular field.
  • Code of Best Practices in Fair Use for Media Literacy Education
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies. These practices are associated with K–12 education, higher education, and in classes given by nonprofit organizations. When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • These principles apply to all forms of media.
  • The principles apply in institutional settings and to non-school-based programs. 
  • The principles concern the unlicensed fair use of copyrighted materials for education, not the way those materials were acquired. 
  • where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media. Labels on commercial media products proclaiming that they are “licensed for home [or private or educational or noncommercial] use only” do not affect in any way the educator’s ability to make fair use of the contents—in fact, such legends have no legal effect whatsoever. (If a teacher is using materials subject to a license agreement negotiated by the school or school system, however, she may bebound by the terms of that license.)
  • TWO:  Employing Copyrighted Materials in Preparing Curriculum Materials
  • fairness of a use depends, in part, on whether the user tookmore than was needed to accomplish his or her legitimate purpose.
  • PRINCIPLES
  • ONE:  Employing Copyrighted Material in Media Literacy Lessons
  • The principles are all subject to a “rule of proportionality.” 
  • THREE:  Sharing Media Literacy Curriculum Materials
  • In materials they wish to share, curriculum developers should beespecially careful to choose illustrations from copyrighted media that are necessaryto meet the educational objectives of the lesson, using only what furthers theeducational goal or purpose for which it is being made.
  • FOUR:  Student Use of Copyrighted Materials in Their Own Academic and Creative Work
  • Students should be able to understand and demonstrate, in a mannerappropriate to their developmental level, how their use of a copyrighted workrepurposes or transforms the original. For example, students may use copyrightedmusic for a variety of purposes, but cannot rely on fair use when their goal is simplyto establish a mood or convey an emotional tone, or when they employ popular songssimply to exploit their appeal and popularity.
  • FIVE:  Developing Audiences for Student Work
  • If student work that incorporates, modifies, and re-presents existingmedia content meets the transformativeness standard, it can be distributed to wideaudiences under the doctrine of fair use.
  • Educators and learners in media literacy often make uses of copyrighted works outside the marketplace, for instance in the classroom, a conference, or within a school-wide or district-wide festival. When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine.
  • Especially in situations where students wish to share their work more broadly (by distributing it to the public, for example, or including it as part of a personal portfolio), educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • The ethical obligation to provide proper attribution also should be examined.
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond
  • MYTH:  Fair Use Is Just for Critiques, Commentaries, or Parodies. Truth:  Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both. Fair use applies to a wide variety of purposes, not just critical ones. Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example. Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness. As the cases show, a transformative new work can be highly commercial in intent and effect and qualify under the fair use doctrine.
  • Caroline Bucky-Beaver on 12 Nov 08
     
    Great article outlining copyright, fair use and explaning the 5 principles of fair use in education.
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