"Austin Kleon's talk 'Steal Like An Artist' is a creative manifesto based on 10 things he wish he'd heard when he was starting out. Austin is a writer and artist. He's the author of Newspaper Blackout, a best-selling book of poetry made by redacting newspaper articles with a permanent marker. Austin's talk was delivered as part of the TEDxKC presentation of TEDxChange. Austin's work (including his new book) 'Steal Like An Artist' has been featured on NPR's Morning Edition, PBS Newshour, and in The Wall Street Journal. He speaks about creativity, visual thinking, and being an artist online for organizations such as SXSW and The Economist."
(TEDx Talk, 2012, Kansas City)
"But as a strategy and a form, the interview-oriented film has problems of its own. ... the film-maker with intertitles, making patently clear what has been implicit all along: documentaries always were forms of re-presentation, never clear windows onto 'reality'; the film-maker was always a participant-witness and an active fabricator of meaning, a producer of cinematic discourse rather than a neautral or all-knowing reporter of the way things truely are."
(David MacDougall p.260, 1985)
MacDougall, David. "The Voice of Documentary", in Movies and Methods: Volume II, Bill Nichols ed. Berkeley: University of California Press, 1985.
Fig.1 Dana Perry and her son Evan Scott Perry, at age 3, HBO documentary "Boy Interrupted" [http://www.hbo.com/documentaries/boy-interrupted]
"From academic and cinephile Helen Yeates comes this 16-minute mash-up of sexual and erotic scenes that creatively pushed the sensual boundaries of cinema, challenging audiences over the last four decades.
An ironic intercutting of arousing and transgressive scenes, Do Look Now creates a provocative interplay of love, sex, desire, humour, nostalgic yearning and cultural memory.
Part postmodern pastiche, part cut-up passion project, Yeates's creation explores the contours of female eroticism and sexual politics, playing with the way context can lend fresh meaning and nuance to sexual depictions."
(Brisbane International Film Festival, 2012)
"I hereby give Sita Sings the Blues to you. Like all culture, it belongs to you already, but I am making it explicit with a Creative Commons Attribution-Share Alike License. Please distribute, copy, share, archive, and show Sita Sings the Blues. From the shared culture it came, and back into the shared culture it goes.
You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom.
That said, my colleagues and I will enforce the Share Alike License. You are not free to copy-restrict ('copyright') or attach Digital Restrictions Management (DRM) to Sita Sings the Blues or its derivative works.
Some of the songs in Sita Sings the Blues are not free, and may never be; copyright law requires you to obey their respective licenses. This is not by my choice; please see our restrictions page for more.
There is the question of how I'll get money from all this. My personal experience confirms audiences are generous and want to support artists. Surely there's a way for this to happen without centrally controlling every transaction. The old business model of coercion and extortion is failing. New models are emerging, and I'm happy to be part of that. But we're still making this up as we go along. You are free to make money with the free content of Sita Sings the Blues, and you are free to share money with me. People have been making money in Free Software for years; it's time for Free Culture to follow. I look forward to your innovations."
"I envisioned This Land Is Mine as the last scene of my potential-possible-maybe- feature film, Seder-Masochism, but it's the first (and so far only) scene I've animated. As the Bible says, 'So the last will be first, and the first will be last.'"
Fig.1 Nina Paley (2012) "This Land Is Mine".