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This blog is a communication platform for the documentary film students of filmArche, the largest self-organized film school in Europe. It is also a place to find educational resources about how to make documentaries. How to use this website Links to... filmArche facebook group filmArche wiki

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Henri Cartier-Bresson is considered to be the father of modern photojournalism.  His style of "street photography" using small format cameras still influences photojournalists to this day.

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Ansel Adams, Photographer (1957) - Records the life and work of Ansel Adams. Dwells on his equipment, home, interests, and his attitude toward art, photography and life.Larry Dawson Productions, San Francisco.; International Film Bureau.

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Incredible all in one soundtrack box!

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The British Library’s “Sounds” Archive Presents 80,000 Free Audio Recordings: World & Classical Music, Interviews, Nature Sounds & More

Online archives, galleries, and libraries offer Vegas-sized buffets for the senses (well two of them, anyway). All the art and photography your eyes can take in, all the music and spoken word recordings your ears can handle.

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Wings of Hope (German: Julianes Sturz in den Dschungel) is a 2000 made-for-TV documentary directed by Werner Herzog. The film explores the story of Juliane Koepcke, a German Peruvian woman who was the sole survivor of Peruvian flight LANSA Flight 508 following its mid-air disintegration after a lightning strike in 1971. Herzog was inspired to make this film as he narrowly avoided taking the same flight while he was location scouting for "Aguirre, Wrath of God." His reservation was canceled due to a last minute change in itinerary.

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Cuando Werner Herzog vio la ópera prima de Errol Morris Gates of Heaven, apostó que se comería su zapato si el documental de Morris se estrenaba en la gran pantalla. Finalmente la obra se estrenó y Herzog tuvo que comerse su zapato, eso sí, aderezado con ajo, vino y especias... Lo que este corto documental transmite es que cualquiera puede hacer un cortometrjae sin excusa alguna, no importa el dinero, el argumento ni nada de nada, sólo las ganas, la pasión que tengas. En definitiva lo único que importa que realmente es que lo ames y quieras hacerlo. (via https://www.youtube.com/watch?v=wErYHigsq7M)

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World’s largest natural sound archive now fully...

Awesome database of natural sounds!

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Like Lions of stone at the gateway of night (2012) Between 1947 and 1950, more than 80 000 Greek citizens were imprisoned on the isle of Makronisos (Greece) in reeducation camps created to 'fight the spread of communism'. Among these exiles were a number of writers and poets, including Yannis Ritsos and Tassos Livaditis. Despite the deprivation and torture, these prisoners succeeded in composing poems, which describe their struggle for survival in this world of internment. These texts, some of them buried in the camps, were later found. «Like Lions of stone at the gateway of night» blends these poetic writings with the reeducation propaganda constantly piped through the camps' loudspeakers. Long tracking shots take us on a trance-like journey through the camp ruins, interrupted along the way by segments from photographic archives. A cinematic essay, which revives the memory of forgotten ruins and a battle lost. Director: Olivier Zuchuat Writers: Eleni Gioti, Olivier Zuchuat

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Set in a tiny Philippine village, the inimitable Kidlat Tahimik's film focuses on a family that makes paper-mache animals to sell during the traditional Turumba festivities. One year, a department store buyer purchases all their stock. When she returns with an order for 500 more (this time with the word "Oktoberfest" painted on them), the family's seasonal occupation. 

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The film follows the story of programming prodigy and information activist Aaron Swartz. From Swartz's help in the development of the basic internet protocol RSS to his co-founding of Reddit, his fingerprints are all over the internet. But it was Swartz's groundbreaking work in social justice and political organizing combined with his aggressive approach to information access that ensnared him in a two-year legal nightmare. It was a battle that ended with the taking of his own life at the age of 26. Aaron's story touched a nerve with people far beyond the online communities in which he was a celebrity. This film is a personal story about what we lose when we are tone deaf about technology and its relationship to our civil liberties.

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THE ANGOLA 3. The story of Robert King Wilkerson, Herman Wallace, & Albert Woodfox, men who have endured solitary confinement longer than any known living prisoner in the US. Politicized through contact with the Black Panther Party while inside Louisiana's prisons, they formed one of the only prison Panther chapters in history & worked to organize other prisoners into a movement for the right to live like human beings. This documentary explores their struggle for justice in Angola, a former slave plantation where institutionalized rape & murder made it known as one of the most brutal and racist prisons in the US. The story occurs within the context of the widespread COINTELPRO BEING CARRIED OUT IN THE 1960'S AND 70'S BY THE FBI & State law enforcement against militant voices for change. Narrated by Mumia Abu-Jamal.

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(N.B. Subtitles sometimes don't work on mobile devices.)

European tourists and Syrian refugees meet each other on the Greek island Lesvos. Sitting on a bench looking out over the sea they talk about war, fleeing, home, work, cars and pets.

Europese toeristen en Syrische vluchtelingen ontmoeten elkaar op het Griekse eiland Lesbos. Op een bankje in een park of uitkijkend over de zee praten ze over oorlog, vluchten, geluk, thuis, werk, auto’s en huisdieren.

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Maybe being talented or having the most Twitter followers is not the key to success; maybe it's being passionate and prolific in your craft. In other words, if you make films solely because you love making films, you'll never want for anything. Clinging to the desire to see your film play to a big audience (or a small one, or whatever) will more often than not result in disappointment, since the probability of that actually happening is so slim.

That's why Vincent Van Gogh is such a great icon when it comes to successful artistic losers, because the painter spent over 10 years in obscurity before he actually made anything anyone wanted to see. PetaPixel did the math: during his short career, he "created roughly 900 paintings and 1,100 drawings and sketches — that’s an average of 200 pieces per year, or 1 every 1.825 days." Now that's an artist who loved his craft!

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DON'T LOOK BACK, the documentary of Bob Dylan's 1965 English tour, is discussed with D.A. Pennebaker, the landmark documentary filmmaker behind the film, Monterey Pop, and much more. The reasons that it isn't a musical film, and the evolution Dylan made for the (as yet) unreleased 1966 tour film, EAT THE DOCUMENT, plus film footage of Dylan arguing at a party is all seen in this excerpt from the full length 

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... sind einflussreiche US-amerikanische Dokumentarfilmer und Pioniere des Direct Cinema/Cinéma vérité. Aktionskunst (besonders Popmusik) und Politiker sind ihre Lieblingsthemen. Ihr Stil ist oft durch Benutzung einer Handkamera gekennzeichnet (Dok 1997). Ausschnitt aus ihrer Filmographie: "Hier Strauss" (1965) / "Dont Look Back" (1967, gefilmt 1965) mit Bob Dylan / "Monterey Pop" (1968, gefilmt 1967) / "Ziggy Stardust and the Spiders from Mars" (1973) mit David Bowie / "Jimi Plays Monterey" (1986) mit Jimi Hendrix / "The War Room" (1993) Wahlkampf von Bill Clinton / Woodstock Diary (1994) / ...

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In 1973, John DeLorean was most likely going to be the next president of General Motors, when he turned his back on his $650,000 a year job and focused on a grander dream... to build his own car company (the first new American car company since 1925). In 1978, DeLorean built the most advanced auto factory in the world in under 18 months, from the ground up in a small suburb of Belfast, Northern Ireland. When British Television (ATV) asked us to make a film about John DeLorean, out great automotive adventure began, an adventure that took us to the auto show in Geneva, where DeLorean and his wife showed his new car for the first time to the excited world of car buffs; to car designer Guigiaro's huge studio-factory in Italy where full-size wooden replica's of Lotuses, Ferraris and DeLoreans were locked away in secret vaults; and to DeLorean's Belfast assembly plant which was financed by the British government in an attempt to ease tensions between Protestants and Catholics by bringing them together in a working environment. Here workers from both sides built the car that became the legend of the movie "Back to the Future." When you see how close it all came to working you wonder how it could go so wrong.

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It was in the early ‘60s at the Cinémathèque in Paris that I met Jean-Luc Godard and we talked about doing a film together. His idea was to set up a town somewhere, and my partner Ricky Leacock and I would arrive and shoot whatever we found there, with no script or preparation on our part, like a newsreel. That film never happened, but a few years later Godard decided he wanted to make a film with us. PBL, forerunner of Public Television, agreed to produce it. The film was to be called 1 AM (One American Movie), and it was to be about the rising resistance to the Vietnam War and the impending revolution that Godard was convinced was about to happen in the U.S.

After shooting the film, Godard and Leacock both decided to leave town, Godard going off with Gorin to start a new leftist cinema and Leacock to teach at MIT. I was left to deliver something to Public Television or face severe contractual coercion. Thus, 1 AM became 1 PM (One Parallel Movie – or One Pennebaker Movie, as Jean-Luc has called it.)

Ricky had filmed pretty much what Godard wanted, but I was the extra camera that nobody noticed, and I filmed whatever looked interesting. So when I began putting the sequences together as Godard had suggested, I saw a lot of stuff I’d shot that hadn’t been planned, and I was soon making a film of my own. I doubt it was the film Godard had in mind when we started, but then, it seldom works out that way anyhow. I found what happened entertaining and filled with surprises. It’s some sort of history. I’m grateful to Jean-Luc, Ricky and everyone who showed up to see what would come of this crazy idea, and I am continually amazed that such a film would ever get made.