引述 :『17Million-Home Indie Net Looks To Build Audience Online by R. Thomas Umstead -- Multichannel News, 4/27/2009 12:00:00 AM MT In an effort to drive awareness and audience reach, independently-owned The Documentary Channel is turning to the Web. The 17 million-subscriber service, which offers short and long-form documentary movies, recently launched video channels on YouTube.com and Sling.com to offer full-length library content for free, according to channel CEO Jim Ackerman. The network is offering some 15% of its library on the Web, although Ackerman says none of the movies and specials will debut in cyberspace before premiering on the channel. But given the linear channel's limited digital distribution, the Web is a good option to reach viewers, particularly younger audiences. “We think younger audiences are moving increasingly to the Internet and are using their computers to fill their programming desires,” he said. “As far as we're concerned, if people watch our channel through the linear channel via the cable operator, or watch our programming through the cable modem that is provided by the cable operator, we're happy — we just want to make sure we reach consumers where they are.” The channel's Web play comes amidst a heated debate within the industry about the ramifications of offering free network content online. Most cable networks offer full-length episodes of their top shows on their respective Web sites in an effort to reach the increasing number of consumers who watch Internet video. But some network executives and several MSOs worry that such behavior will eventually lead to consumers “cord-cutting,” or dropping their cable service in favor of watching their favorite shows for free online. Cable operators, seeing less value for linear network content, could begin paying less in affiliate fees, leading to a dismantling of the dual advertising/affiliate-fee revenue stream networks currently enjoy. Over time, Ackerman admitted, offering content for free via the Web could have an adverse effect on network revenues. But programmers have to serve viewers wherever they are, he argued. “Our main business is our channel, but its undeniable the industry is changing,” he said. “At the end of the day, you have broadband Internet access in the home and at offices that is enabling consumers to watch, in a very high-quality fashion, programming — whether it's clips, movies or television shows — on their computer screens.” Ackerman said he's also concerned about MSO authentication proposals that would allow only cable subscribers to access long-form programming from cable networks. “I don't know what that does for the consumer,” he said. “If we put up any barrier that frustrates the consumer, someone else will satisfy that need. “If I pay my operator for broadband into the home, I want to make sure that what I choose to do through broadband I can do when I choose to do it.”』

引述 :『一切都是有趣并值得思考的，如果拍摄者也能以这样的视角拍摄，我想也会发现这些，并通过传媒让更多人了解这些问题并进行思考。 』

引述 :『片長約1.5小時，導演是40歲、曾任《南方周末》和《新華社》（攝影）記者的周浩，主題聚焦2001年911事件過後，廣東省東莞厚街鎮的部分農民工，據該片宣稱，因為911事件，當地工廠陸續發生倒閉潮，或許也正因此，導演與農民工們同住的NO.4432，房客來來去去，也順勢入鏡片中。』

引述 :『2002年，24岁的张侨勇第一次看到长江。他在加拿大长大，当时是陪同祖父沿着三峡进行一次“告别之旅”，这片奇景马上就要被淹没在世界最大的大坝工程之下了。正是这次经历，奠定了电影《沿江而上》的基础。它是三月份在伦敦举办的人权观察国际电影节的参展影片之一。 我问张侨勇他是什么时候决定拍这部电影的，他说：“我们登上停靠的游轮时，电影里的军乐队就在那里，当时演奏的是《胜利之歌》。就在那一瞬间，我决定拍这个电影。” 张侨勇说服旅游公司同意他在船上拍一部纪录片，他将这部片子描述成“一部《高斯福德庄园》式的电影”。这个类比，乍看起来似乎有些奇怪。《高斯福德庄园》是罗伯特·奥尔特曼拍摄于2001年的一部凶杀悬疑片，其中将建筑的楼层和社会的阶级交织错杂在一起。《沿江而上》则以这条亚洲最长的河流为主线，其中心则是世界上最具争议的工程项目。然而，类比并非到此为止。张侨勇从经济学维度细致地描述了沿长江而下的旅程，以及大坝工程的社会意义，但他说还要努力展现“大坝背后人的面孔”。』

引述 :『三里洞煤礦位於陝西銅川，1955年12月，300多名上海青年來到銅川支援大西北建設，一幹就是一輩子。 　　導演的父親朱永生就是其中的一員，死後尚欠礦上500元』

引述 :『Angels in the Dust is an award-winning documentary that takes you into the world of children affected by the AIDS pandemic. The children's stories will help you understand the complexities of this disease and will start conversations between you and your team. 』

引述 :『以兩年時間完成紀錄片「南京」的導演古騰塔（Bill Guttentag）說：「我拍『南京』（Nanking） 絕不是要去攻擊日本人或鼓吹仇日，而是希望還原歷史真相。」古騰塔曾兩次獲得奧斯卡最佳紀錄片獎，目前在加州史丹福大學商學院執教電影與電視課程。他執導的紀錄片「南京」今年以來先後榮獲「日舞」（Sun Dance）影展最佳剪輯獎、香港國際電影節最佳紀錄片人道主義獎，在上海國際電影節也備受讚譽。 古騰塔於2005年接受製片人、全美連線 (AOL)副總裁里昂西斯（Ted Leonsis）的邀請，執導該片的。他說，這部紀錄片以美籍華裔作家張純如的遺作「南京大屠殺：被遺忘的二戰浩劫」（The Rape of Nanking：The Forgotten Holocaust of World War II）為藍本，為此他本人及其他35人曾多次前往中國、日本、韓國和德國等地，訪談書中提到的受害者家屬和倖存者，並進行實地研究、調查和資料收集。』

引述 :『台北市紀錄片從業人員職業工會為台灣第一個由紀錄片工作者發起的自主工會，於2006年9月9日正式成立。會員囊括老中青三代的紀錄片編導、攝影、剪接、配樂、策展等專業人員，成立宗旨在於保障紀錄片工作者基本勞動權利、提升紀錄片工作專業水平、及促進紀錄片產業發展為目標。』