纪录片自媒体解说素材-新闻动态参考-弗里曼特尔（Fremantle）的曼迪·昌（Mandy Chang）警告说，随着流媒体的燃料纪录片的“公司时代”的“公司时代”/Fremantle’s Mandy Chang Warns Against a ‘Corporate Age’ of Documentary as Streamers Fuel Docmaking Boom
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/16414owyhnyyppz.jpg弗里曼特尔（Fremantle）的曼迪·昌（Mandy Chang）警告说，随着流媒体的燃料纪录片的“公司时代”的“公司时代”
Fremantle’s Mandy Chang Warns Against a ‘Corporate Age’ of Documentary as Streamers Fuel Docmaking Boom
弗里曼特尔（Fremantle）的全球纪录片负责人曼迪·昌（Mandy Chang）周四坚持认为，“纪录片的黄金时代是陈词滥调”，并敦促电影制片人避免避免“一个两层阶层的遗物系统，没有任何东西”，在这里，独立的纪录片被Splashier商业项目拥挤而来通过流媒体平台。“主流文档很受欢迎，但并非所有纪录片都受欢迎或引人入胜，”张对哥本哈根的观众说。“对我来说，成功不仅是主流的黄金时代，而且对于众多较小，价格较低，但仍然由……一群更加多样化的电影制片人制作的众多重要和有力的电影。”哥本哈根INTL的为期四天的会议计划。纪录片电影节（CPH：DOX）于3月23日至4月3日举行。战争激发了人们对纪录片领域蓬勃发展的看法。“许多平台都在寻找同一件事。真正的犯罪，体育故事，以名人为导向的叙述。”她说。 “这类电影和系列获得了狮子的份额。而且它往往是同一家公司和电影制片人，通常是在崭露头角的交易中。”当涉及到新的人才时，她补充说：“ SVOD不会真正冒险。” “助产士，” Rintu Thomas和Sushmit Ghosh的2021年观众奖得主“ With Fir with Fir”，以及Talal Derki的奥斯卡提名“父亲和儿子”。流媒体服务，剥夺了他们找到更多受众的机会。 “我们不要自欺欺人，商业平台充满了这些类型她说。她指出，据报道，苹果为“比利·埃里什（Billie Eilish）：世界上有点模糊”（如图）而不是例外，而不是例外，而不是例外规则，”强调说，对于大多数纪录片制片人来说，“彩虹结束时没有一罐黄金。”不平等的不平等是由流媒体平台越来越多地将所有国际权利和IP持续到永久性的制度的强调。将电影制片人变成了Chang所说的“雇用枪支”。她指出，英国电影制片人已经战斗了多年，以确保自己的内容的权利，然后他们在有限的时间内将其许可给广播公司，通常为五年。她说：“监管机构持有广播公司来负责和建立最佳实践。”“为什么彩带免于他们？面对这一挑战，纪录片制片人感到挤压。Chang引用了国际纪录片协会（IDA）的一项研究，该研究发现，有75％的电影制片人需要在该领域以外的其他工作来谋生。她认为，为了使所有人都可以使用该行业，因此需要进行彻底的改革。她说：“我们尚未完成建立一个更强大，更公平的纪录片生态系统的目标。”“还有很多事情要做。”
Fremantle’s global head of documentaries Mandy Chang insisted on Thursday that “the golden age of documentary is a cliché” and urged filmmakers to avoid “a two-tier system of haves and have nots,” where independent documentaries are crowded out by splashier commercial projects bankrolled by streaming platforms.
“Mainstream docs are popular, but not all documentaries are popular or given prominence,” Chang said to an audience in Copenhagen. “And success for me is a golden age not just for the mainstream, but for a plethora of smaller, less expensive, but still important and powerful films made by…a much more diverse group of filmmakers.”
The Fremantle executive was speaking during the four-day conference program at the Copenhagen Intl. Documentary Film Festival (CPH:DOX), which runs March 23-April 3.
During her address, Chang warned against the influence of global streaming giants such as Netflix, Amazon Prime Video and Apple TV Plus, whose deep pockets and bidding wars have fueled the perception that the documentary field is booming.
“Many platforms are looking for the same thing. True crime, sports stories, celebrity-driven narratives,” she said. “These kinds of films and series get the lion’s share of the money. And it tends to be the same companies and filmmakers, often on first-look deals.” When it comes to new talent, she added, “the SVODs don’t genuinely take risks.”
Chang praised festivals like CPH:DOX for offering a platform for daring and challenging works of documentary filmmaking, such as Snow Hnin El Hlaing’s 2022 Sundance contender “Midwives,” Rintu Thomas and Sushmit Ghosh’s Sundance 2021 Audience Award winner “Writing With Fire,” and Talal Derki’s Oscar nominated “Of Fathers and Sons.”
She noted, however, how difficult it is for such documentaries to find a home on mainstream streaming services, depriving them of a chance to find a larger audience. “Let’s not kid ourselves that the commercial platforms are awash with these kinds of films,” she said.
Chang referenced a colleague who calls this not a “golden age” but a “corporate age” of documentary filmmaking, noting: “Any field that adheres closely to a purely market-driven system would eventually support only the films that reach the broadest possible audience, marginalizing those on the fringes.”
She pointed to the “staggering $25 million-plus” that Apple reportedly paid for “Billie Eilish: The World’s a Little Blurry” (pictured) as “the exception rather than the rule,” stressing that for most documentary filmmakers, “There isn’t a pot of gold at the end of the rainbow.”
The inequity is underscored by a system in which streaming platforms are increasingly taking all international rights and IP into perpetuity, turning filmmakers into what Chang described as “guns for hire.” She noted that U.K. filmmakers have fought for years to secure the rights to their own content, which they then license to broadcasters for a limited period – typically five years.
“Regulators hold broadcasters to account and establish best practices,” she said. “Why are the streamers exempt from them? It’s not an even playing field.”
In the face of such challenges, documentary filmmakers are feeling the squeeze. Chang cited a study by the International Documentary Association (IDA), which found that 75% of filmmakers need to do additional work outside the field to make a living. Marginalized and disadvantaged groups, such as women and people of color, disproportionately shoulder that burden.
For that to change, she argued that sweeping reforms are needed in order to make the industry accessible for all. “We’re not done yet in our goal to build a stronger, more equitable documentary ecosystem,” she said. “There’s still a lot to be done.”
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