从彩带到报纸，非小说短裤提供奖项和受众认可
From Streamers to Newspapers, Nonfiction Shorts Offer Awards and Audience Recognition
早在1980年代，前HBO纪录片总裁希拉·内文斯（Sheila Nevins）以非小说类短片的形式看到了一个机会。“我在一个晚上看过奥斯卡金像奖，有一个名为“最佳docu short”的类别，让他们获得奥斯卡奖的人，”内文斯说。“在艾美奖上，纪录片被隐藏起来并在特殊的日子里放弃。Docs本身就在Emmys的角落里，但在奥斯卡颁奖典礼上，Doc电影制片人在舞台上上升，他们赢了。因此，当我得知我们有资格获得这件事，称为简短并与大男孩一起比赛时，我做到了。关于11岁杰森·盖斯（Jason Gaes）成功的癌症回合的文档。这将是Nevins在HBO的38年任期期间纪录片简短非小说类类别中的15个Oscars HBO中的第一个。d在他们里面。“这是一种大写的形式，”内文斯说。 “当然不分享。我不是要分享它。 20多年前。这些平台包括Netflix，Disney Plus，MSNBC电影，《纽约时报》，《卫报》，《洛杉矶时报》，《纽约客》，A＆e和ESPN。在传统上，Doc Shorts是由有前途的导演组成的在非小说类电影制作门中。但是，分发简短主题膜的平台的扩散已经吸引了建立的纪录片唱片舵手，包括Errol Morris，Laura Poitras和Alex Gibney，以达到格式。他们不是赚钱的人。但是，如果Doc Short获得奥斯卡奖，或者更好，则赢得了奥斯卡金像奖新手和资深电影制片人在职业上受益匪浅。在2017年，Netflix在奥兰多·冯·埃因西德尔（Orlando von Einsiedel）的非小说类简短“白头盔”获得了第一项奥斯卡金像奖。赢得奥斯卡奖的运动可能使流媒体服务付出的代价超过制作“白色头盔”的费用，但这是一项值得投资的投资。首先，它是Netflix合法的娱乐行业创意人才界的信号。它还给流媒体庞然大物的影响力又增加了订阅数字。2016年，Netflix在纪录片简短类别中获得了七项奥斯卡提名。今年，流媒体服务在奥斯卡入围名单上有四个简短的文档：“ Audible”，“ Camp Confidendial”，“带领我回家”和“ Benazir的三首歌”。许多平台。”主题总经理Ryan Chanatry说，First Media的视频流服务。在2018年，主题获得了“伊迪丝 +埃迪”的奥斯卡短文件类别中的第一个名称。虽然彩带的最新短期“迪克西（Dixie）融化”并未成为该学院奖的入围名单，但来自主题的姐妹公司视野领域的一个非小说类作品确实：“该设施”在MSNBC电影中播出，此外，Chanatry说，Chanatry说，适应性适应。将平台绘制为简短的内容。“许多工作确实成为完整的纪录片或脚本的内容。但是，Chanatry很快就会注意到，简短的文档对许多平台（包括主题）的吸引力，因为它们“突出了重要和关键问题”。贝内特说，从广播的角度来看，“我们有这些时间表的时间表，我们希望能够填补参与，教育和精心制作的内容。” “这就是Doc Shorts适合账单的地方。” Althou贝内特（Bennett）说，gh的非小说短裤市场已经变得更加竞争，POV短裤将不会成为任何竞标战争的一部分。“可能会有我感兴趣的标题，但是如果迪士尼Plus或Netflix也很感兴趣，那么我只是我只是说，“与上帝一起去”，然后选择下一个标题，因为我们没有45,000美元或60,000美元来支付Doc Short的费用。非小说类简短的内容。“ Netflix上越利他的镜头可能是他们正在建立管道。因为在大多数情况下，短期电影制片人是开始职业或可能出现的人。 POV Shorts于2018年启动，已因其短文件而获得了两项奥斯卡提名。 POV Shorts与New Yorker一起发行了两部电影，这些电影成为本赛季的简短简称“ Aguilas”和“破碎的房屋”e。”“我们与纽约客和《纽约时报》（New York Times Op-Docs）这样的仅数字分销商玩得很好。”贝内特说。 “从我们的角度来看，电影制片人的曝光率更大，并且受众更广泛。这也意味着相同标题的多个许可费，这对于简短的纪录片制片人来说是很大的一面。 “纽约客的简短纪录片是有道理的，因为我们能够深入研究一个故事，”《纽约客》编程和发展执行董事Soo-Jeong Kang说。 “它绝对为我们的订户服务。迄今为止，纽约客制片厂（New Yorker Studios）赢得了三个Oscar Noms的简短文档内容。康说，短裤不仅为订户服务，而且是吸引新受众并“帮助我们实现收入增长目标”的一种方式。 - 电视和电影制作部门的时间 - 于2020年推出，收入超过7000万美元。制作公司落后于2021年的DOC短裤，包括“从魔鬼的呼吸”和“ Snowy”。“我们的重点是您如何通过我们的讲故事来在世界上发挥最大影响，” Time Studios总裁Ian Orefice说。 “我认为奖励对话绝对是该更广泛策略的一部分。”一个原因是奖项的一部分是更广泛的策略的一部分，是因为奖杯会增加收视率。出生？不，”内文斯说。 “人们如何听到一个简短的文档？人们只有赢得奖项，才会听到它。当她于2019年5月搬到MTV时，内文斯（Nevins）开始获得非小说类功能以及2021年的短裤，她获得了该网络在15年内的首次奥斯卡提名。路易斯超人，” BLA的故事CK说唱歌手和激进主义者布鲁斯·弗兰克斯（Bruce Franks）于2014年在密苏里州弗格森市的动乱竞选。两部电影“编码：J.C. Leyendecker的隐藏之爱”和“私刑明信片：“美好的一天” - 入围名单。“他们从来没有想过自己能够去那里得到一个，但是现在他们有了短暂的射门。”
Back in the 1980s, former HBO Documentary Films president Sheila Nevins saw an opportunity in the nonfiction short format.
“I was watching the Academy Awards one night and there was this category called best docu short and the people who made them were getting Oscars,” Nevins says. “At the Emmys, docus were kept hidden and given out on a special day. Docs were all by themselves in a corner at the Emmys, but at the Oscars doc filmmakers went up on the stage and they won. So, when I learned that we could qualify for this thing called a short and play with the big boys, I did it.”
In March 1989 HBO garnered its third Academy Award for “You Don’t Have to Die” — a 27-minute doc about 11-year-old Jason Gaes’ successful bout with cancer. It would be the first of 15 Oscars HBO nabbed in the documentary short nonfiction category during Nevins’ 38-year tenure at HBO.
If there had not been an Oscar category for short nonfiction content, Nevins says she would not have invested in them.
“It was a form to capitalize on,” says Nevins. “Certainly not share. I didn’t mean to share it.”
At HBO and in her new role as head of MTV Documentary Films, Nevins has had to “share” the Oscar category with numerous media platforms that see the opportunity the doc maven saw in short form content more than 20 years ago. Those platforms include Netflix, Disney Plus, MSNBC Films, the New York Times, the Guardian, the Los Angeles Times, the New Yorker, A&E and ESPN.
Traditionally, doc shorts are made by up-and-coming directors looking to get their foot in the nonfiction filmmaking door. But the proliferation of platforms that are distributing short subject films has drawn established documentary feature helmers including Errol Morris, Laura Poitras and Alex Gibney to the format.
That said, the payday for a short doc is generally well below six figures because, in part, they are not moneymakers. But if a doc short receives an Oscar nom, or better yet, wins an Academy Award, both newbie and veteran filmmakers benefit career-wise.
So, what’s in it for the platform? Brand equity.
In 2017 Netflix garnered its very first Academy Award for Orlando von Einsiedel’s nonfiction short “The White Helmets.” The campaign to win that Oscar likely cost the streaming service more than it did to make “The White Helmets,” but it was a worthy investment. For one, it served as a signal to the entertainment industry’s creative talent circles that Netflix was legit. It also gave the streaming behemoth clout, which in turn increased subscription numbers.
Since 2016, Netflix has scored seven Oscar nominations in the documentary short category. This year the streaming service has four short docs on the Oscar shortlist: “Audible,” “Camp Confidential,” “Lead Me Home” and “Three Songs for Benazir.”
“I do think there is an element of prestige that’s certainly attractive for many platforms,” says Ryan Chanatry, general manager of Topic, First Look Media’s video streaming service.
In 2018, Topic received their first nom in the Oscar short doc category for “Edith + Eddie.” While the streamer’s most recent short “Meltdown in Dixie” did not make this Academy Award shortlist, one nonfiction short from Topic’s sister company Field of Vision did: “The Facility,” which aired on MSNBC Films.
In addition to prestige, Chanatry says adaptation draws platforms to short content.
“A lot of the work does move on to become a full documentary or something scripted. It’s a great proof of concept opportunity for filmmakers.”
But Chanatry is quick to also note that short docs are appealing to many platforms including Topic because they “highlight important and critical issues.”
POV Shorts producer Opal H. Bennett agrees.
“PBS is coming at it from the broadcast perspective and being like, ‘We have these bits of time in the schedule that we want to be able to fill with engaging, educating and well-crafted content,’” says Bennett. “That’s where doc shorts fit the bill.”
Although the marketplace for nonfiction shorts has become more competitive, Bennett says POV Shorts will not be a part of any bidding wars.
“There might be a title that I’m interested in, but if Disney Plus or Netflix is also interested then I just say, ‘Go with God,’ and go with the next title because we don’t have $45,000 or $60,000 to pay for a doc short.”
That said, Bennett doesn’t think that Oscar glory is the sole reason Netflix is interested in nonfiction short form content.
“The more altruistic lens on Netflix is that they are perhaps building a pipeline. Because for the most part, short filmmakers are folks who are beginning their career or maybe emerging.”
Like HBO, PBS, the company behind POV Shorts, has been distributing short-form nonfiction content for decades. Launched in 2018, POV Shorts has received two Oscar nominations for its short docs. Together with the New Yorker, POV Shorts distributed two films that made this season’s short doc shortlist: “Aguilas” and “A Broken House.”
“We play nice with the digital-only distributors like the New Yorker and the New York Times Op-Docs,” Bennett says. “From our standpoint, it’s greater exposure and a broader audience for the filmmakers. It also means multiple license fees for the same title, which for a short documentary filmmaker is a big deal.”
Arguably short-form nonfiction content fits most naturally on news outlet sites, which could be why so many print giants have embraced the format.
“Short documentaries for the New Yorker makes sense because we’re able to dive deeper into a story,” says Soo-Jeong Kang, executive director of programming and development for the New Yorker. “It definitely serves our subscribers. It’s a new way for them to experience the New Yorker storytelling.”
To date, the New Yorker Studios has garnered three Oscar noms for its short doc content. Shorts serve not only subscribers, but are also a way to reach new audiences and “help us meet our revenue growth goals,” Kang says.
Time Studios — the television and film production division of Time — launched in 2020 and has generated more than $70 million in revenue. The production company is behind 2021 doc shorts including “From Devil’s Breath”’ and “Snowy.”
“Our focus is how do you make the most impact in the world with our storytelling,” says Time Studios president Ian Orefice. “I think the awards conversation is definitely a part of that broader strategy.”
One reason awards are part of the broader strategy is because trophies increase viewership.
“People watch [shorts] when they hear about them, but do they watch them when they are born? No,” Nevins says. “How are people going to hear about a short doc? People are only going to hear about it if it wins awards. So that’s why the award became important.”
When she relocated to MTV in May 2019, Nevins began acquiring nonfiction features as well as shorts In 2021 she garnered the network’s first Oscar nomination in 15 years for the short “St. Louis Superman,” the story of Black rapper and activist Bruce Franks, who was inspired to run for office by the unrest in Ferguson, Mo., in 2014. Last year MTV Documentary Films nabbed another Oscar nom in the short doc category for “Hunger Ward” and this year Nevins has two films — “Coded: The Hidden Love of J.C. Leyendecker” and “Lynching Postcards: “Token of a Great Day” — on the shortlist.
“Everybody in the docu business grew up watching the Academy Awards,” Nevins says. “They never thought they’d be able to go up there and get one, but now they have a shot with a short.”
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发表于 2022-7-5 02:37:37
发表于 2024-1-2 16:29:17