2014 Archive

AP Archive

Archival highlights

In 2013, AP Archive proved that it continues to be a leading and trailblazing archive that's really in tune with customers. The AP Archive re-vitalized their website with a fresh, crisp and modern look designed to give a simple yet advanced and intuitive user experience which caters for how customers need to work rather than forcing them into new practices. They have new innovative features such as the personal workspace, a tool to share clip-bins/projects with colleagues, where colleagues can share back their comments, a clipping tool to extract specific shots, and then the ability to download the footage in a wide variety of formats. Licences and usage declaration can also be done online. AP has continued to digitize huge amounts of its archive and has enabled the entire British Movietone archive to be available online in broadcast quality. Finally, AP has lost none of its personal touch. Behind AP's website window is the dedicated friendly team. Regardless of the nature of the show being made, the brief is always greeted with a great deal of enthusiasm and a willingness to help. Great care is taken to ensure that the best available archive is supplied, deadlines are met, and there is a willingness to be flexible on prices.

www.aparchive.com

Jenny Hammerton

Production Company:

AP Archive

Archival highlights

Jenny Hammerton has been with AP Archive for five years and her commitment to being the Archive Account Manager that producers and researchers love to work with has continued unabated. With an in-depth knowledge of the AP content and being an expert on the British Movietone collection, her ability to interpret and deliver to a client's needs, while patiently introducing them to AP's new website and consistently providing an efficient and timely service is to be applauded. Jenny does this all with such a unique touch and great sense of personal service, topped with a great character, style and sense of humour. No matter what that project is, how big or small, Jenny is enthusiastic about it. This combined with her in-depth knowledge of, not only of her own archive material, but of popular culture too, makes her well equipped to match the needs of the project with appropriate footage. Always prompt, the service I've received from her has never been anything less than the highest standard.' Her passion and authority on certain footage has further been proven by her writings and interviews on television and other media platforms. She really is an unsung hero of the business.

John Smith

Country of Production:

UK

Archival highlights

BRUSHING UP ON With the Brushing Up series we took what could be deemed 'dry' subjects, Bridges, Tunnels etc and endeavoured to find some mischief, wonder and sense of fun in these worlds. Buying into the spirit of the project along with a genuine understanding of comedy was key to the archive research. John delivered in spades, unearthing terrific oddities and long unseen nuggets which made producing these shows a joy. A team man with safe hands and genuine funny bones, every archive show should have one. Mark Lucey, Series Producer MORECAMBE AND WISE: THE WHOLE STORY John Smith was an excellent Archive Producer on what was to prove a huge undertaking. Right from the off he was totally in tune with the needs of the programme and immediately set about embellishing the Morecambe and Wise story we wanted to tell. His contribution was invaluable and his knowledge impressive. He has a natural affinity with comedy which makes his archive choices all the more spectacular. When John supplies material you know you won't be looking at lots of irrelevant material - it's all good. Not only is he painstaking in his approach but he can always be relied upon to maintain a sense of calm. Andy Humphries, Producer/Director THE CLASS OF 92 The archive within Class of 92 was sourced by John Smith. John went outside the usual realms sourcing the footage for our project. Finding interesting rare unseen moments without which such insight to the characters would have been hard to achieve. His passion for the project spending hours researching through hundreds of football matches to find those moments all contributed to the success of the final film.
Ben Turner & Gabe Turner, Directors

Manila in the Claws of Light (Maynila Sa Mga Kuko Ng Liwanag) (1975)

Country of Production:

Philippines

Involved Partners:

Restored by: The Film Foundation/World Cinema Project and the Film Development Council of the Philippines | Restoration or Preservation Work by: Cineteca di Bologna / L'Immagine Ritrovata laboratory, in association with LVN, Cinema Artists Philippines and Mike de Leon

Synopsis

Manila in the Claws of Light" is a descent to the first circle of hell [...] that of social alienation, particularly hard for Julio, a fisherman from a poor but almost Adamic world. The Dante of the suburbs and building sites, Brocka shows the path of his hero with black pebbles: fatal accidents in the construction site, fights that tragically predict his desire to kill, a rugged engraving of the circles of male prostitution. And, forever in our memory, the vision of the epitome of Dante's Beatrice, taken from her family by an old lady on the false pretext of sponsoring the girl's studies, though actually sold at high prices to a Chinese tradesman. Lino Brocka was a radical filmmaker whose socially conscious films explored the plight of the marginalized and ignored sectors of Filipino society. Some of his best works are Insiang (1978), a revenge tale of a girl's rape by her mother's lover, which became the first entry by a Filipino filmmaker at the Cannes Festival, earning him the prestigious Palm d'Or. Manila: In The Claws of Light (1975), Jaguar (1980), and Bayan Ko (My Country, 1984) were also nominated for the award, further cementing his reputation as one of the greatest directors to come out of South East Asia. According to film historian and Brocka's expert Pierre Rissient, of roughly 60 titles only 4 original negatives of Brocka's production survive. These films are in great danger and urgently need restoration. The Film Development Council of the Philippines brought Manila to the attention of the The Film Foundation - World Cinema Project.

Archival highlights

1. Describe the element/s used for restoration, stating gauge and nature and specific problems associated with them:
The restoration of Maynila: sa mga kuko ng liwanag was made possible through the use of the original camera and sound negatives deposited by Pierre Rissient, on behalf of Lino Brocka, at the BFI National Archive since the early 1980s. The state of conservation of the negatives was critical. The negative was wet-scanned at 4K resolution. The digital restoration process required considerable effort due to the great number of issues affecting the negative: tears, scratches, warping, visible marks and halos. Color decay was also a significant problem. The film's cinematographer, Mike De Leon, attentively guided the grading phase and validated a positive print for reference.

2. State the original aspect ratio and format:
Original camera negative 1:1,37

3. Outline the restored aspect ratio and format:
35mm print and DCP 1:1,37

4. Explain where the work was carried out for each title (including labs and facility houses) and broken down where there are multiple titles in an entry:
MAYNILA SA MGA KUKO NG LIWANAG (Manila in The Claws of Light) was restored in 2013 with fundings provided by the World Cinema Foundation (now "The Film Foundation - World Cinema Project") and the Film Development Council of the Philippines at Cineteca di Bologna/L'Immagine Ritrovata laboratory, in association with LVN, Cinema Artists Philippines and the film's cinematographer and producer Mike de Leon.

5. What methodology was used?:
The state of conservation of the negatives was critical. The negative was wet-scanned at 4K resolution. The digital restoration process required considerable effort due to the great number of issues affecting the negative: tears, scratches, warping, visible marks and halos. Color decay was also a significant problem. The film's cinematographer, Mike De Leon, attentively guided the grading phase and validated a positive print for reference.

6. What preservation elements have been generated and where will they be stored?:
The restoration produced a new negative which will be stored at the Cineteca di Bologna Film Vaults on behalf of The Film Foundation World Cinema Project

AP Archive Digitisation

Production Company:

AP Archive

Country of Production:

UK

Involved Partners:

Restoration or Preservation Work by: Prime Focus Technologies

Synopsis

This entirely self-funded project has involved the digitisation of over 32,000 hours of film and videotape to the highest specifications, and the creation of a new customer-focussed website to host and deliver the digitised footage. A logistically complex process, with content on various formats and coming from London, New York and Washington, DC, this was a major undertaking. Prime Focus created a sophisticated workflow involving teams in London and Bangalore and delivered to AP a suite of different files for online viewing, offline editing and archiving. The new website was built with the help of customers from the UK and overseas and designed to replicate how customers need to work. The project was complete in less than two years and all content can now be viewed at www.aparchive.com. The AP Archive collection is one of the world's most important audio-visual archives of news, social affairs, sports and entertainment. Prior to this project, over 90% of the collection was only available on film or videotape. Some of the content was at risk due to degradation and format obsolescence. This bold project successfully digitised much of this content, so that for the first time, large swathes of late 20th century history is easily accessible, with online viewing and available for download on a new state-of-the art platform that is designed to match the exact workflows of researchers. The project has also preserved unique footage of some of the most important events is history for the benefit of future generations.

Archival highlights

1. Describe the element/s used for restoration, stating gauge and nature and specific problems associated with them:
26,000 hours of PAL Betacam SP and Digital Betacam tapes 3,000 hours of NTSC DVCam tapes 3,000 hours of 16mm film (black and white and colour) With up to 30 stories per tape, ingestion was just the starting point. Each story on the tape had to be identified and edited from the ingested file. These individual stories would then be transcoded and delivered back to AP. The films were stored in large boxes, containing up to 100 reels. They would need to be emptied from the box, sorted through and elements selected for digitisation. Only once this time consuming yet meticulous process took place could the prep, clean and telecine work begin.

2. State the original aspect ratio and format:
The PAL Betacam SP and Digital Betacam tapes were a combination of 4x3 and 16x9. The NTSC DVCam tapes were a combination of 4x3 and 16x9. The 16mm films were all 4x3.

3. Outline the restored aspect ratio and format:
The PAL Betacam SP and Digital Betacam tapes were converted to PAL DV25 .MOV files, in native aspect ratio, plus MP4 screeners (PAL and NTSC), MP4 web previews and a selection of key frame thumbnails. The NTSC DVCam tapes were converted to NTSC DV25 .mov files, in native aspect ratio, plus MP4 screeners (PAL and NTSC), MP4 web previews and a selection of key frame thumbnails. The 16mm films were converted to XDCam HD 422 .MXF files, pillarboxed at full height, plus MP4 screeners (1080i50 and 1080i60), MP4 web previews and a selection of key frame thumbnails. AP is committed to the policy of digitising in native formats and aspect ratios so as to respect the integrity of the original materials, and this was a key guiding principle of the project.

4. Explain where the work was carried out for each title (including labs and facility houses) and broken down where there are multiple titles in an entry:
The project was carried out in a multi-site environment, coordinated and managed through automated workflows from the CLEAR, cloud and from the following facilities: Prime Focus Technologies, London, UK 1. Cleaning, Encoding and Ingest of tapes " Manual Operation 2. Cleaning, Restoration, Preparation and Digitization of films " Manual operation 3. Clip Essence, Web preview, PAL and NTSC screener generation " Automated operation 4. Auto QC " Automated operation 5. Metadata and Thumbnail generation " Automated operation 6. Packaging and Delivery " Automated operation Prime Focus Technologies, Bangalore, India 1. Tagging, Metadata update " Manual operation Operations from CLEAR, Cloud 1. Digitization Workflows & Automation " Automated operation 2. Reporting and Notifications " Automated operation The development of the new website was conducted in the USA and London and crucially, involved a series of focus sessions involving customers from the UK, USA and Europe. Customers were asked to specify the features of their ideal website which then fuelled the design of the site and its features. Customers' workflows were mapped carefully and the navigation of the site was built to reflect them.

5. What methodology was used?:
The digitisation project was steered from London, where all ingestion and digitisation took place. Metadata associated with each digitised element was pulled from AP's systems and, using CLEAR, sent with proxy versions of the elements to the team in India for tagging individual stories and updating metadata. This information was sent back to London, where individual stories were created, transcoded into a variety of video formats and thumbnails, Quality Checked and checksums created. All files were packaged and delivered to AP over a secure link. Backup/review copies were retained in Prime Focus Technologies' media centre. As well as automated reports created using CLEAR, Whereas most digitisation projects tend to result in files being delivered in large batches on hard drives for the archive to then upload to their websites, the CLEAR, approach meant that as each story was digitised, it was immediately uploaded to the website allowing customers to get a constant feed of `new` footage.

6. What preservation elements have been generated and where will they be stored?:
The PAL Betacam SP and Digital Betacam tapes were converted to PAL DV25 .MOV files, in native aspect ratio as preservation elements. The NTSC DVCam tapes were converted to NTSC DV25 .mov files, in native aspect ratio as preservation elements. The 16mm films were converted to XDCam HD 422 .MXF files, pillarboxed at full height as preservation elements. All video files are held on AP's Isilon NAS storage platform and backed up to a cloud storage system hosted by Verizon

McCullin

Director:

Jacqui Morris, David Morris

Producer(s):

Jacqui Morris

Footage Archive Researcher:

Jacqui Morris

Archival Sources:

BBC Motion Gallery, ITV, Presevation Hall Mississippi, LVR Video (Africa Addio), Stefan Sharff estate

Production Company:

Frith Street Films Ltd and British Film Company

Country of Production:

UK

Synopsis

Don McCullin worked for The Sunday Times from 1966 to 1983, at a time where, under the editorship of Harold Evans, the newspaper was widely recognized as being at the cutting-edge of world journalism, with Don as its star photographer. During that period he covered wars and humanitarian disasters on virtually every continent. Don McCullin worked with top reporters and designers, and the prominence given to his photo essays coincided with one of the most remarkable periods in the history of photojournalism. But what I wanted to do was to put his pictures into context " to give the film a sense of time and for the viewer to be immersed in to the world Don inhabited for many years. My extensive archive search took me as far as old Jazz clubs in the Deep South where I know Don once photographed " more time was put into archive research than even editing.

Britain's Railways - The Home Front War Years 1939-1945

Director:

Andrew Fisher

Producer(s):

Barney Ashton

Footage Archive Researcher:

Barney Ashton

Archival Sources:

Imperial War Museum, National Archives, ITN Source

Production Company:

Strike Force Entertainment Ltd

Country of Production:

UK

Synopsis

The most definitive long-form series ever made on the wartime role played by Britain's Home Front Railways. The trilogy combines extensive use of much previously unseen British Transport Films off-cuts alongside cinema newsreels and footage unearthed from the National Archives in the United States. Because the whole trilogy's mostly mute source material has been sound-effected and given a narrative that contextualizes every bit of footage within the very limited budget available to a home entertainment publisher. The titles are 100% original archive material and at 7 hours long in total it is far more detailed than anything ever shown on television. Identifying all the locomotives and locations was painstaking work.

MAKERS (website & TV initiative)

Director:

Barak Goodman

Producer(s):

Dyllan McGee, Betsy West, Peter Kunhardt, Nancy Armstrong (Web Producer), Dyllan McGee (Web Producer), Caroline Waterlow (Web Producer), Betsy West (Web Producer), Sara Wolitzky (Web Producer)

Footage Archive Researcher:

Sara Wolitzky

Production Company:

Kunhardt McGee Productions

Country of Production:

USA

Synopsis

MAKERS is a landmark television and digital video initiative created by AOL Inc. in partnership with PBS, that aims to be the largest and most dynamic collection of women's stories ever assembled. With exclusive video interviews of groundbreaking women from all walks of life, MAKERS harnesses the power of storytelling to capture and preserve the remarkable achievements of women of yesterday and today to inspire the MAKERS of tomorrow. In February 2013, over 2.6 million viewers tuned-in to the PBS broadcast of "MAKERS: Women Who MAKE America," a 3-hour documentary that tells the story of the last 50 years of the women's movement. Surprisingly, men comprise 48% of the audience on MAKERS.com. Video views on the site have eclipsed 42 million since launch and MAKERS has been invited to the White House to screen excerpts for the Council on Women and Girls. The MAKERS social community has thrived due to editorial curation of newly released content and stories relevant to the world around us. Each week, MAKERS continues to add to the dynamic and ever-growing canon of women's stories each week. In 2014, we will increase the number of MAKERS from our current 210 to 300 and also return to broadcast with six one-hour specials in the summer and fall. Additionally, global MAKERS will be celebrated, in concert with the translation of our MAKERS stories for global audiences. From Secretaries of States and Supreme Court Justices to athletes, activists and entertainers, the stories on MAKERS.com weaves together the known and unknown groundbreakers who've sparked change and lit a path for those to follow.

www.MAKERS.com

Edwardian Insects on Film

Director:

John Holdsworth

Producer(s):

John Holdsworth, Emma Morgan (Executive Producer)

Footage Archive Researcher:

Beth Lewis (Mentorn Scotland), Jan Faull and Bryony Dixon (BFI)

Archival Sources:

BFI, BBC Natural History Unit, Stills from National Media Museum in Bradford (Science & Society Picture Library), Stills from Talbot's Moving Pictures How They Were Made & Work

Production Company:

Mentorn Media

Country of Production:

UK

Synopsis

Edwardian Insects on film aims to tell the story of some of the earliest attempts to shoot natural history films and find out if a modern day cameraman (presenter Charlie Hamilton James) could recreate one of them - the mesmerizing Acrobatic Fly (1908). It is also a tender and moving biopic about the man who made the original films. His name was Percy Smith - an Edwardian working class amateur naturalist whose obsession with a strange new medium called film arguably made him the first David Attenborough. From the moment we became aware of Percy Smith's story we felt compelled to bring the work (such as the Acrobatic Fly, The Birth of a Flower and Bertie Bee) of this forgotten pioneer of natural history to a modern television audience. Although he was a sensation of Edwardian cinema, no one had ever made a film on Percy Smith before. The Science Museum, National Media Museum and the BFI agreed to give expert help and support " pushing us towards forgotten documentation, equipment and film archive and helping us to discover films that had never been seen on television before.

A Film Never Made

Director:

Sarita Siegel, Gregg Mitman

Producer(s):

Gregg Mitman, Sarita Siegel

Footage Archive Researcher:

Gregg Mitman

Archival Sources:

Orphan Film - Held in private hands and being turned over to the Center for National Documents and Records Agency in Monrovia, Liberia

Production Company:

Alchemy Films in association with University of Wisconsin

Country of Production:

UK/USA

Synopsis

What can the past offer to the future of a nation seeking reconciliation? When a young Liberian man, uprooted by war, discovers the earliest motion picture record of his country's past, he sets off on a journey to find out. The archival footage was recently discovered after being lost to the world for almost 75 years. Shot in 1926, it is the earliest motion picture record of Liberia's past to survive the civil war. It has never been seen in Liberia. The footage, approximately three hours in length, contains intimate, candid, and, at times, stunning and haunting scenes of mythic paramount chiefs, traditional village life, cultural dances, artisanal crafts, and forced labor practices, as well as urban street life in Monrovia. It is playing an important role in rewriting a more inclusive history of Liberia on the path to reconciliation.

The Trials of Muhammad Ali

Director:

Bill Siegel

Producer(s):

Rachel Pikelny

Footage Archive Researcher:

Bill Siegel, Rachel Pikelny, Aaron Wickenden, Amy Boyd, Shayla Harris

Archival Sources:

ABC News VideoSource, ESPN Productions, Inc., T3Media, Lynn and Louis Wolfson II Florida Moving Image Archives, NBC Universal Archives

Production Company:

Kartemquin Films & Kat White

Country of Production:

USA

Synopsis

The Trials of Muhammad Ali explores Ali's lifelong journey of spiritual transformation. From his Louisville roots, through his years in exile, to receiving the Presidential Medal of Freedom, Trials traces Ali's path from poet to pariah to global ambassador for peace. At each stage, the challenges Ali faces go far beyond the boxing ring and ultimately encompass the issues of power, race, faith, and identity that confront us all. Ali's boxing matches bear political and cultural significance, paralleling his fights outside the ring. Physically and verbally, Ali fights back, defending his religion and name change. To punctuate importance of these moments, we layer commentary by figures like Malcolm X, who references "historic things taking place ... not a heavyweight championship fight physically, there was more to it." For footage quality and accuracy, we pursued primary sources, many times forgoing talking heads for archival footage that showed, not told. In general, we undertook an exhaustive archival footage search, uncovering gems that oftentimes had not been seen in more than 50 years.

David Bowie - Five Years

Director:

Francis Whately

Producer(s):

Francis Whately

Footage Archive Researcher:

Miriam Walsh

Archival Sources:

AVRO Broadcasting Sales (Netherlands), Mick Rock, Daphne Productions, Soul Train Holdings, LLC, NHK and all the archives who supported the project

Production Company:

BBC Events Production

Country of Production:

UK

Synopsis

David Bowie - Five Years is an intimate portrait of five seminal years in the musician's career. The film looks at how Bowie evolved from 'Ziggy Stardust', to the 'Soul Star' of Young Americans, to the 'Thin White Duke'; then at the critically acclaimed albums Low and Heroes; and finally explores his triumph with Scary Monsters and his global success with Let's Dance. Using an extraordinary wealth of previously unseen archive from collections around the world, and interviews with of all his closest collaborators, David Bowie - Five Years presents a unique account of why Bowie has become an 'icon of our times'. The film was crafted using long-forgotten archive footage, rare vintage performances and out-takes from period promos and films. The material was sourced from all over the world and included 'lost' BBC footage as well as rushes from rehearsals and home movies. To discover new material of an artist of Bowie's stature was remarkable, it added to the sense that we were giving the audience a rare treat. Many performance out-takes were mute and synched up with bootleg and gig audio of the same period. Bowie words which drove the narrative were culled from interviews broadcast throughout his career. This unique footage intercut with contemporary interviews from Bowie's key collaborators made this film one of the most acclaimed documentaries of 2013.

Arena: The National Theatre - War and Peace

Director:

Adam Low

Producer(s):

Martin Rosenbaum

Footage Archive Researcher:

Emily Thomas

Archival Sources:

BBC Motion Gallery, ITN Source, National Theatre Archive, The British Library, Richard Price

Production Company:

Lone Star Productions

Country of Production:

UK

Synopsis

In Part Two - War and Peace, the National's next generation of Directors, Peter Hall, Richard Eyre, Trevor Nunn and Nicholas Hytner, recount their experiences running the new National " the biggest job in British theatre " from its opening by the Queen in 1976, through the strikes which nearly forced it to close, clashes with the government, the controversy surrounding the play The Romans in Britain, to the fulfillment of Olivier's original dream with the huge success of shows like Amadeus, Guys and Dolls, War Horse and One Man, Two Guvnors. The films tell the remarkable story of the first 50 years of the National Theatre by putting the great stage productions into the social and political context of British life. This could only be achieved by using archive film from the past 5 decades. In Part Two " War and Peace archive footage and audio is central to conveying the turbulent political and social life of the country during the National Theatre's formative period. Despite vivid anecdotes from those responsible for writing, performing and directing the productions the story cannot be understood without evoking the times through archive.

Goodbye Granadaland

Producer(s):

Vicky Thomas

Footage Archive Researcher:

Elspeth Hanna, Neil Summers

Archival Sources:

ITV Studios (Granada), Kaleidoscope Publishing, David Barnes (Home Movie Footage), Martin Smith (Home Movie Footage), Manchester Libraries / Manchester City Council

Production Company:

ITV Entertainment / Shiver for ITV

Country of Production:

UK

Synopsis

Fronted by self-confessed Granada addict Peter Kay, ITV's Goodbye Granadaland was a celebration of the people and programmes that made Manchester's Granada Studios a national treasure. The studios dominated the Manchester skyline for 57 years. It was the first television complex to be built in the UK and home to some of the greatest programmes in television history from Coronation Street to Cracker and Jewel In The Crown. This documentary was carefully crafted to bring some of the studios' most momentous and iconic stories to life through a wide range of archive, included rare footage uncovered during production. This documentary was a six-month labour of love for archive producer Elspeth Hanna who headed into the Granada archives to uncover footage which had not been seen on TV for decades " if ever. The archive included Inside Granada staff training programmes shot by the station in the early 60s and which, on closer inspection, consisted of footage of the TV studios which had never been broadcast " including early behind the scenes shots of Coronation Street being made. Elspeth also collated home movie footage from Granada staff from different generations to help build up an intimate portrayal of a North West institution.

New Life of Family Album

Director:

Adam Ol'ha

Producer(s):

Pavel Berčík

Footage Archive Researcher:

Adam Ol'ha

Archival Sources:

Archive of Adam Ol'ha's family

Production Company:

Evolution Films, s.r.o.

Country of Production:

Czech Republic

Synopsis

This film is a story of a big Slovak catholic family, which has been left by the father. Mother Jana, five daughters and one son Adam suddenly were left alone. Adam decided to put up with this huge change in his life in a very strong way, to shoot this film, as the ''last man standing" in the family. This film tells the story of how one man cannot manage seven women, and how seven women can fight for one man. How can he learn from parent's divorce and how can He help teach his sisters to divorce well in the future? The documentary is a great production and worthy of an award

We Steal Secrets: The Story of WikiLeaks

Producer(s):

Alex Gibney, Alexis Bloom, Marc Shmuger

Footage Archive Researcher:

Javier Botero

Archival Sources:

Mark Davis (Australian Documentarian), T3 Media, Australian Broadcasting Corporation, NBC, ABCNEWS Video Source

Production Company:

Universal Pictures

Country of Production:

USA

Synopsis

Filmed with the startling immediacy of unfolding history, Academy Award-winning director Alex Gibney's WE STEAL SECRETS: THE STORY OF WIKILEAKS details the creation of Julian Assange's controversial website, which facilitated the largest security breach in U.S. history. Hailed by some as a free-speech hero and others as a traitor and terrorist, the enigmatic Assange's rise and fall are paralleled with that of PFC Bradley Manning, the brilliant, troubled young soldier who downloaded hundreds of thousands of documents from classified U.S. military and diplomatic servers, revealing the behind-the-scenes workings of the government's international diplomacy and military strategy. In seeking to expose abuse in the corridors of power, Assange and Manning were undermined by forces within and without, as well as by their own human failings. WE STEAL SECRETS: THE STORY OF WIKILEAKS is a riveting, multi-layered tale about transparency in the information age and our ever-elusive search for the truth. Documenting events that happen simultaneously across four continents, involving some of the most secretive people on the planet, requires a film that can creatively draw from any media source imaginable. That was the challenge and the opportunity of the WikiLeaks story. To meet it, the We Steal Secrets team not only traveled across the world, it researched media across the world, from major libraries to individual content creators. The filmmakers licensed from Flickr photographers in the Netherlands and France, Vimeo shooters in Brazil, YouTube users in Iceland and Malaysia, and archive houses across the world not only in the United States and Britain, but Australia, Sweden, and Egypt. In the end, the filmmakers licensed from 85 different sources in 15 different countries, negotiating for archive in 6 different languages. The number of media sources originally considered was in the hundreds. But the final product shows just how powerful a global story can be told when filmmakers are willing to scour the earth for "le clip just".

Silent Balkans

Director:

Andreas Apostolides

Producer(s):

Rea Aposolides, Yuri Averof

Footage Archive Researcher:

Leonidas Liambeys

Archival Sources:

Albert Kahn Museum, Serbian/Yugoslav Kinotek National Archive, Bulgarian Film Archive, NARA USA, Thessaloniki Photography Museum

Production Company:

Anemon Productions

Country of Production:

Greece

Synopsis

The story of how the coexistence of different peoples during the Ottoman Empire ended with the rise of nationalisms and conflict. A documentary based on the first photographs and films of the Balkans on the occasion of the centenary of the Balkan Wars. Produced in the framework of the cross-media project "A Balkan Tale". Released in 7 local languages, it narrates the story of the Balkan wars (1912-1914) from a regional rather than national perspective. The footage from national archives had not seen together before in a project which used archive material to appeal to wide audience. Stills and CGI really bring the last years of multiethnic coexistence to life.