| Swarm of Angels, an example of how CC enables collaboration for filmmaking, by Matt Brighton |
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'All rights reserved' not the only option for documentary filmmakers Documentary filmmakers take note: there are alternative ways for you to distribute your films - rather than the 'all rights reserved' approach of the copyright world, take a look at the 'creative' side, the Creative Commons way.
Creative Commons provides licences that take a "some rights reserved" policy towards the use of knowledge and creative works, and thus may better serve the needs of documentary filmmaker who have a tough time gaining audiences and revenues.
The project lead of Creative Commons Australia, Elliott Bledsoe, is promoting the idea of how digital technologies and copyright management could be merged as tools for filmmakers. So why would filmmakers want to veer away from a strict copyright regime, and try out Creative Commons instead?
Bledsoe argues: "It encourages collaboration. It increases reach and reputation. Such an approach offers access to new business models. It gives new value to 'back catalogue', the BBC has itself been experimenting with its Creative Archive."
In addition, he points out that the use of Creative Commons licences can be seen "as a distribution model", and offers the chance of strong community engagement or feedback ' as a type of peer review mechanism, similar to those used in the world of free and open source software.
It reduces costs for certain users, such as schools, libraries, non-profits and charities. It provides legal clarity and also reduces administrative costs. Likewise, for those keen in giving an altruistic edge to their work, this approach increases the sum of human knowledge and also encourages innovation.
Creative Commons, a distribution model too
Anna Helme of Engagemedia.org, an Australian network that allows filmmakers to upload their work on the Internet for distribution argues: "Many of these videos address concerns... largely ignored by other... distribution outlets."
Cafune, a feature film funded by the Brazilian Ministry of Culture, is a good example of a movie with an alternative, 'open' distribution model. Released under an Attribution-NonCommercial-ShareAlike licence, the director aimed to overcome the bottlenecked cinema distribution in Brazil, to acknowledge its public funding, and to add value to the film. Read more about Cafune Cafuné.
Some filmmakers are also known for releasing a short trailer of their film on Revver under a Creative Commons licence, as undertaken by the award-winning educational film, A Laughing Matter.
Creative Commons licences could also enable the success of a 'collaborative production' for a film, such as A Swarm of Angels. This film is bringing together a community of people involved in every aspect of the filmmaking ' through fundraising, contributing to, and voting on the two scripts in development, or as a crew member. The film will be peer-to-peer friendly, remix ready, and not encumbered by digital rights management technology.
Creative Commons is seen by some as a way of managing raw material, such as the film Outfoxed. As Bledsoe says, "Creative Commons-licensed material is a pool of material legally available for reuse, without additional permissions, and generally without the need for payment either, though under certain conditions.'
Creative Commons, argues Bledsoe, offers special opportunities for documentary makers. It allows for viral distribution and promotion (both online and offline). It is a model that facilitates collaboration, and the management of raw content, and it provides useful resources for providing content for your documentary film too.
This article was first published on APC.org, under a CC BY-NC-SA 2.5 licence.
tags: australia culture film collaboration documentary
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