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This year’s Hot Docs festival has selected Chinese-American filmmaker, educator and artist Christine Choy (Chai Ming Huei) to receive its Outstanding Achievement Award. Choy has produced, directed and photographed more than ...
Filmmaker Christine Choy and visual researcher Elizabeth Klinck will be the subjects of retrospective programmes at this year’s Hot Docs festival. Hot Docs announced yesterday that Choy will receive the 2023 Outstanding Achievement Award, while Klinck’s work will be highlighted in the Focus On programme. The latter series puts a spotlight on a Canadian artist in the documentary field.
Hot Docs Festival 2023 will pay tribute to Canadian film producer, researcher and clearance specialist Elizabeth Klinck with the annual Focus On program, featuring the work of Canadian filmmakers and craftspeople who have made a significant contribution to the documentary landscape.
"Elizabeth Klinck is nothing short of an icon of Canadian documentary Cinema," said Shane Smith, Hot Docs artistic director." Her remarkable work as a visual and archival researcher can be seen in an astounding number of our most important docs. Elizabeth’s expertise and passion for her craft make her one of the most sought-after collaborators for producers and directors from Canada and around the world, and we are delighted to celebrate her at this year’s Festival."
November 2021
In early November, Elizabeth will be delivering a "free speech" on the topic of archives at the Symposium as part of the Italian Doc Screenings Academy Series, a 4-day workshop on serial storytelling with a strong focus on archives and archive projects. It is will take place in Cagliari, Sardinia, from November 3rd to 7th, in collaboration with the Italian Ministry of Culture and RAI Italian public broadcaster https://italiandocscreenings.net/en/series-en/
On November 17, Elizabeth with UK Archive Producer James Hunt will speak about creating captivating non-fiction content from archive material as part of Realscreen’s 365 speakers series. More information here: https://365.realscreen.com/2021/calendar/
In mid November, Elizabeth will give a week-long series of archive and music clearance workshops for DocA - Documentary Africa. https://documentaryafrica.org/
On November 23rd Elizabeth is offering archive production consulting at IDFA in Amsterdam again this year. More info here: https://bit.ly/3prF8Dy
October 2021
During the month of October, Elizabeth has been asked to be a guest lecturer for Fanshawe College’s TV and Film Production program and The Emily Carr School of Art’s Film Production program.
On October 14, Elizabeth has been invited to present a workshop at MIA in Rome. More information here: https://www.miamarket.it/en/speakers/elizabeth-klinck-2/
On October 21, Elizabeth has been asked to be a panelist at the PEI Screenwriters Association virtual conference to speak about the role of the researcher on the “Documentary Filmmaking in the 21st Century” panel. More info here: http://peiscreenwritersbootcamp.net/home
On October 27 Elizabeth has been asked to moderate the 5th annual Dok Leipzig Short ‘n Sweet Short Film Pitch focusing on the financing and distribution of short documentary, animated documentary and animated films. Accredited film professionals are invited to pitch their short film project in front of an international panel of buyers and distributors and an engaged audience of producers and peers. More info here: https://www.dok-leipzig.de/en/short-n-sweet
On October 28 Elizabeth will headline Dok Leipzig’s first annual “Spotlight on Archives” and will participate in a series of expert sessions for filmmakers, producers, and other researchers. More info here: https://www.dok-leipzig.de/en/british-pathe-presents-spotlight-archive
June 2021
Elizabeth is looking forward to giving her second workshop at Docs Ireland and moderating a panel on archive filmmaking. https://belfastfilmfestival.org/docs-ireland
Elizabeth will be guest lecturing along with Producer Mridu Chandra at the filmuniversity Babelsberg.
Elizabeth will be attending the FOCAL International annual awards ceremony.
May 2021
Elizabeth will be returning to guest lecture at The Film Akademie Baden-Wuerttemberg, one of the most renowned documentary film schools in the world.
Elizabeth is looking forward to attending the Canadian Screen Awards. She is honored to be nominated for two films for the Barbara Sears Best Visual Research Award:
Gordon Lightfoot: If You Could Read My Mind https://www.academy.ca/2021/cindy-wolfe
Cheating Hitler https://www.academy.ca/2021/elizabeth-klinck-3/
Elizabeth will be attending the AGM of the Visual Researcher’s Society of Canada. (www.visualresearch.ca) Originally scheduled to be held in Quebec City, it will be a virtual event.
Elizabeth will be a guest lecturer at Documentary Campus’s Masterschool again this year in conjunction with the Dok.Fest Munich film festival.
March 2021
Elizabeth was delighted to hear that a series she worked on for BBC Studios/Netflix The Surgeon’s Cut won the Science and Natural History award at the Royal Television Society UK.
March 16-20, 2021
Elizabeth will be participating at M:Brane in Malmo, Sweden. M:brane is a unique meeting place with focus solely on projects aimed at a young audience in the areas of cinema, tv, documentaries, interactive, VR, immersive storytelling. This year’s focus is on Canadian production. More info here: https://mbrane.se/
March 2 2021
Elizabeth is delighted to be participating in this year's EFM as part of the virtual Berlin Film Festival. Back for the second year in a row, I will be part of ARCHIVE DAY. Archive Day is framed by online talks presenting international experts from the areas of production, archives and archival research to discuss topics such as international collaborations in and around archival research & rights management. https://www.efm-berlinale.de/.../efm-industry-sessions...
January 2021
January 28, 2021
Elizabeth was asked to be part of the first FOCAL Webinar Workshop. Monthly workshops will be offered during the winter and spring from FOCAL in the UK.
December 2020
December 9, 2020
Elizabeth has been asked to moderate a session on archive filmmaking entitled “There's Gold in Those Archives” featuring US filmmaker Dawn Porter and Archive Producer Rich Remsberg and German producer Gunnar Dedio and filmmaker Annette Bausmeister for the World Congress of Science and Factual Producers (WCSFP) virtual marketplace. https://www.wcsfp.com/entries/schedule
November 2020
In November, Elizabeth has been asked to produce a virtual Industry session on archive filmmaking for Amsterdam’s IDFA. More information and date to follow.
October 2020
October 30, 2020
Elizabeth will once again be moderating the Dok Leipzig Short ‘n Sweet Short Film Pitch focusing on the financing and distribution of short documentary, animated documentary and animated films. Accredited film professionals are invited to pitch their short film project in front of an international panel of buyers and distributors and an engaged audience of producers and peers. More info here: https://www.dok-leipzig.de/en/short-n-sweet
October 20, 2020
Elizabeth was invited by the Mediterranean Film Institute to participate in a virtual workshop entitled “Achieving the Authentic – The Use of Archives in Every Genre” on how to negotiate and obtain copyright permissions in order to ensure the authenticity and truthfulness of your production. https://mfi.gr/mfi-script-2-film-workshops-2020/
Elizabeth was a guest lecturer for York University’s Film Department, Sheridan University’s Broadcast Journalism and Bachelor of Film and Television departments, and Fanshawe College’s TV and Film Production program.
https://mfi.gr/mfi-script-2-film-workshops-2020/
September 2020
Elizabeth was invited by Nordisk Panorama to present and be part of their Documentary Expert Day on September 23rd. The day consisted of presentations and individual consultations with renowned international documentary experts. More info here: https://nordiskpanorama.com/en/industry/forum/forum-2020/forum-expert-day-2020/
September 9, 2020
On September 9th Elizabeth will be moderating a panel discussion for FOOTAGE FEST entitled 'Accessing News Footage in a post-covid world.' As we approach the latter half of 2020 and perhaps the largest news cycle of our generation, the importance of TV news and global news-gathering has never been more valuable. Join us for a panel discussion on how and where to accessing news footage in a rapidly changing environment. Details here: https://zoom.us/meeting/register/tJEqfuihqDMrG9CGec-tJX94AR2tuoylxlTE
In September Elizabeth will be a guest lecturer for the Hot Docs Doc Accelerator program instructing in the area of rights, research, and copyright. https://www.hotdocs.ca/i/accelerator
July 2020
In July, Elizabeth produced and moderated a session on archive filmmaking for the Gimli Film Festival. Entitled Remains Of the Day: Archival and Found Footage it featured the work of international archive filmmakers Danny Clinch, Taryn Gould, Mira Burt-Wintonick, Ariel Nasr, and Chris Auchter. More info here: https://gimlifilm.com/remains-of-the-day-archival-and-found-footage-filmmaking-panel/
Award-winning producer, clearance specialist and visual researcher Elizabeth Klinck is sometimes described as the “fairy godmother” of archival research. Thanks to her work organising panels and workshops at festivals, many filmmakers have learned invaluable lessons about such matters as copyright clearance, errors and omissions insurance and, most importantly, how and where to find the visual materials they need.
Klinck will again be a prominent presence on March 2 during Archive Day at the EFM. She will moderate the morning session entitled “The Latest Buzz in Archival Research” and will then be on hand for consultations. The Latest Buzz session is designed for participants to gain an inside view on how archival material is used in documentary filmmaking and what the work of an archival researcher looks like. What should filmmakers know if they want to use third-party material in their work and what is the latest buzz in archival storytelling?
Joining Klinck will be internationally acclaimed researchers Monika Preischl from Germany and Morgane Barrier from France who will present clips from their recent work and share with the audience how rich and vast the scope of archival material can be.
Klinck is also involved in a session titled “Unlocking the Mysteries of Archives” which will look at the “communication channels” between archivists and users, looking to create greater understanding on both sides.The inaugural Archive Day was held at last year’s Berlinale. “Hitherto, archives had not really been represented at the Berlinale. It was very well received last year,” Klinck notes. She hopes the momentum will continue this year, even if the event is online.As has been widely noted, archives have been doing bumper business during the pandemic. Facing travel restrictions and with their subjects in lockdown, many directors have been turning to archival-based work.
“It has been a very good time for archive-heavy productions because we always have worked in relative isolation and so we don’t need to worry about Covid-testing and health and safety issues,” she observes. “The archives to their credit started digitising their collections five and even 10 years ago. That meant we were able to change quite quickly last March…I’ve really been impressed by how normal it has felt and how supportive the archives have been to those of us coming to them looking for material.”
Another welcome trend she has noticed is the interest among younger viewers in archive-driven fare.“A lot of people have turned to archives to get their films finished. There is also a nice confluence between the need to do this during the pandemic and the burgeoning OTTs,” she adds, citing new streaming giants like Paramount Plus and Disney +. “They’re all looking for documentaries and they’ve found a younger audience which is quite exciting. For a long time, documentaries were considered to be skewing older but what they’re finding is a lot of younger viewers are excited by archival docs.”
One of Klinck’s jobs during the early part of the pandemic was finishing off Werner Herzog’s latest documentary Fireball: Visitors From Darker Worlds, in which the visionary German auteur, working together with Clive Oppenheimer, explores the influence of meteors and comets on ancient civilisations. The doc was made through Richard Merman at Spring Films in the UK.“We worked together on a film about volcanoes a few years ago (Into the Inferno, 2016) so this was a follow-up,” Klinck says of Herzog, adding that the German was “absolutely delightful” and “extremely grateful and gracious about everything.”
During the first part of the pandemic, the Canadian also worked on BBC Science/Netflix series The Surgeon’s Cut, about four visionary scientists from different parts of the world.Over the years, Klinck has collaborated with many leading names in the doc world, among them figures like Alex Gibney and Jerry Rothwell. “But I also leave room in my schedule for some younger filmmakers. They often are excited about archives but a bit overwhelmed by it. I’ve done a lot of mentoring.”Klinck began her career at the National Film Board of Canada. “I was very fortunate to have a marvellous mentor called Barbara Sears. We now have an award at the Canadian Screen Awards named after her because tragically she died quite young. She took me under her wing.”
This was in the 80s, just as the technology was beginning to change. Once archives became searchable online, Klinck, then a young mother, was able to work from home. “I loved it because it employed my research skills and it was so satisfying to be able to look at so much great visual material. It also involves good business acumen, negotiating good prices and arranging bulk deals.”No two projects are the same. Some she will work on for a month and others for a year.
Alongside her own visual research work, Klinck also works as a teacher. She has unrivalled contacts in the archival world, and very strong links in the UK. She has worked several times with Met Films, sits on the International Executive Committee for FOCAL (Federation of Commercial Audiovisual Libraries International), based in London, and had a long-standing relationship with the Sheffield Doc Fest, where she presented archive-themed masterclasses at the Documentary Campus.Yes, she has worked on dramatic features but her main focus is documentary. She hopes soon to be back on the road, attending film events rather than participating via Zoom.
“I’ve always enjoyed attending film festivals. I started with Hot Docs in its very early days. And some of the Canadian Festivals. For me, it was a way to increase the visibility of the world of archives because over the years, that has sometimes been overlooked,” she notes.“It has been fun. I get to meet people I would only have emailed [otherwise] and so that is always a delight. And I’ve often walked away with a good contract because I’ve met a filmmaker and we have clicked. The networking and business opportunities are great but most important for me was to raise the profile of archives,” she concludes.
Canadian archival producer and copyright clearance specialist Elizabeth Klinck held an Industry Talk entitled "Archive docs rock in the Covidian epoch," and shared her experiences, insights, and tips for filmmakers working in this field. In the COVID-19 pandemic circumstances, production of all types of content has been halted, canceled, or postponed.
But one type of filmmaking has not only continued to work, but is, in fact, thriving: archive documentaries. In her Industry Talk: Archive docs rock in the Covidian epoch, which livestreamed on the IDFA website on earlier today and is available in the Talks Library until November 27, Canadian archival producer and copyright clearance specialist Elizabeth Klinck shared her expertise, insight and tips for aspiring—or active—archive documentary filmmakers.
Klinck will again be a prominent presence on March 2 during Archive Day at the EFM. She will moderate the morning session entitled “The Latest Buzz in Archival Research” and will then be on hand for consultations. The Latest Buzz session is designed for participants to gain an inside view on how archival material is used in documentary filmmaking and what the work of an archival researcher looks like. What should filmmakers know if they want to use third-party material in their work and what is the latest buzz in archival storytelling?
Joining Klinck will be internationally acclaimed researchers Monika Preischl from Germany and Morgane Barrier from France who will present clips from their recent work and share with the audience how rich and vast the scope of archival material can be.
Klinck is also involved in a session titled “Unlocking the Mysteries of Archives” which will look at the “communication channels” between archivists and users, looking to create greater understanding on both sides.
The inaugural Archive Day was held at last year’s Berlinale. “Hitherto, archives had not really been represented at the Berlinale. It was very well received last year,” Klinck notes. She hopes the momentum will continue this year, even if the event is online.
As has been widely noted, archives have been doing bumper business during the pandemic. Facing travel restrictions and with their subjects in lockdown, many directors have been turning to archival-based work.
“It has been a very good time for archive-heavy productions because we always have worked in relative isolation and so we don’t need to worry about Covid-testing and health and safety issues,” she observes. “The archives to their credit started digitising their collections five and even 10 years ago. That meant we were able to change quite quickly last March…I’ve really been impressed by how normal it has felt and how supportive the archives have been to those of us coming to them looking for material.”
Another welcome trend she has noticed is the interest among younger viewers in archive-driven fare.
“A lot of people have turned to archives to get their films finished. There is also a nice confluence between the need to do this during the pandemic and the burgeoning OTTs,” she adds, citing new streaming giants like Paramount Plus and Disney +. “They’re all looking for documentaries and they’ve found a younger audience which is quite exciting. For a long time, documentaries were considered to be skewing older but what they’re finding is a lot of younger viewers are excited by archival docs.”
One of Klinck’s jobs during the early part of the pandemic was finishing off Werner Herzog’s latest documentary Fireball: Visitors From Darker Worlds, in which the visionary German auteur, working together with Clive Oppenheimer, explores the influence of meteors and comets on ancient civilisations. The doc was made through Richard Merman at Spring Films in the UK.
“We worked together on a film about volcanoes a few years ago (Into the Inferno, 2016) so this was a follow-up,” Klinck says of Herzog, adding that the German was “absolutely delightful” and “extremely grateful and gracious about everything.”
During the first part of the pandemic, the Canadian also worked on BBC Science/Netflix series The Surgeon’s Cut, about four visionary scientists from different parts of the world.
Over the years, Klinck has collaborated with many leading names in the doc world, among them figures like Alex Gibney and Jerry Rothwell. “But I also leave room in my schedule for some younger filmmakers. They often are excited about archives but a bit overwhelmed by it. I’ve done a lot of mentoring.”
Klinck began her career at the National Film Board of Canada. “I was very fortunate to have a marvellous mentor called Barbara Sears. We now have an award at the Canadian Screen Awards named after her because tragically she died quite young. She took me under her wing.”
This was in the 80s, just as the technology was beginning to change.
Once archives became searchable online, Klinck, then a young mother, was able to work from home. “I loved it because it employed my research skills and it was so satisfying to be able to look at so much great visual material. It also involves good business acumen, negotiating good prices and arranging bulk deals.”
No two projects are the same. Some she will work on for a month and others for a year.
Alongside her own visual research work, Klinck also works as a teacher. She has unrivalled contacts in the archival world, and very strong links in the UK. She has worked several times with Met Films, sits on the International Executive Committee for FOCAL (Federation of Commercial Audiovisual Libraries International), based in London, and had a long-standing relationship with the Sheffield Doc Fest, where she presented archive-themed masterclasses at the Documentary Campus.
Yes, she has worked on dramatic features but her main focus is documentary. She hopes soon to be back on the road, attending film events rather than participating via Zoom.
“I’ve always enjoyed attending film festivals. I started with Hot Docs in its very early days. And some of the Canadian Festivals. For me, it was a way to increase the visibility of the world of archives because over the years, that has sometimes been overlooked,” she notes.
“It has been fun. I get to meet people I would only have emailed [otherwise] and so that is always a delight. And I’ve often walked away with a good contract because I’ve met a filmmaker and we have clicked. The networking and business opportunities are great but most important for me was to raise the profile of archives,” she concludes.
Elizabeth Klinck: In the first workshop (Archive Workshop #1: Sourcing) we will delve into the making of "Berlin 1945", a historic documentary from Autentic Distribution that takes viewers into Berlin's most fateful year through the eyes of those who lived through it: the German population and the Allied soldiers. Panelists will include Patrick Hörl, Managing Director, Autentic GmbH, and Andrew Bird, Editor - Zero One Film, and they will walk us through the various sources used by the producers to tell their story.
Elizabeth's keynote address on the opportunities of working with archive material during and after Covid-19, the chances it offers and what filmmakers need to know about its use. Presented by Documentary Campus and @NRW.
Delighted that a Saloon Media project I worked on - Cheating Hitler: Surviving the Holocaust- has been nominated for a Rockie Award for Best Documentary & Factual - History and Biography. Congratulations to everyone on the team ! It was great experience working with everyone at Saloon Media.
February 2021
An “Archive Day” will take place for the first time in Germany, featuring a mix of social and thematic components. Twelve of the most renowned international film archives will be on hand to inform market attendees about their collections and field concrete enquiries.
Visual researchers Elizabeth Klinck (CA) and Monika Preischl (D) will co-moderate a talk treating the professional work of archival research, the role of archive producers and licensing. Additionally, a conversation between representatives from archives and production companies will compare the differing approaches to archival research found around the world. In the scope of a special sneak preview, rbb, ARTE, zero one film and bauder film will be presenting the first episode of Berlin 1945, a documentary series composed entirely of archival materials.
Archive researcher and producer Elizabeth Klinck received an Academy Board of Directors Tribute at the 2019 Academy of Canadian Cinema and Television Awards at the end of March.
“Elizabeth Klinck is the filmmaker’s secret weapon",” said producer Janice Tufford in her introduction at the awards ceremony. “In her role as Archive Producer, she’s worked on hundreds of films. She’s renowned for her ability to forage in the far corners of the world to find just the perfect image or piece of music. The directors and producers who come calling for her services -- everyone from Sarah Polley to Werner Herzog -- attest that their films are incomplete without her presence.”
Elizabeth was interviewed by Realscreen in a roundtable discussion about the reemergence of the documentary art form and the demand for archival content. The article is in the January/February edition of Realscreen. To read the full article please click read more.
The International Competition section of the Thessaloniki Documentary Festival presents 10 films of over 50’ that compete for the Golden Alexander and the Special Jury Award. The Golden Alexander award is accompanied by a €8,000 cash prize and the Special Jury Award is accompanied by a €2.000 cash prize.
The five-member International Jury called to judge the films of the International Competition section is composed of:
Ally Derks, former Founder-Director IDFA (The Netherlands)
Elisabeth Klinck, Visual Researcher (Canada)
Sergi Doladé, Director MEDIMED (Spain)
Simon Lereng Wilmont, Film director (Denmark)
Panayotis Evangelidis, Film director, Scriptwriter (Greece)
Ms. Klinck’s career as a visual researcher has spanned more than three decades and has included work for directors including Werner Herzog, Jennifer Baichwal, Donald Brittain and Alanis Obomsawin, amongst many others. She is a three-time winner of the Barbara Sears Award for Best Visual Research at the Canadian Screen Awards as well as contributing to films that have won Emmy, Peabody and Academy awards. Ms. Klinck is a founding chairperson for the Visual Researchers’ Society of Canada.
Elizabeth is honoured to be nominated for her work on You Are Here: A Come from Away Story with colleague Mike Lalonde. You are Here was made by MDF Productions and broadcast on CTV.
The Power of the Image is an eye-opening conversation about the integral role of visual researching in documentary and factual content, with Special Award recipient, Elizabeth Klinck, and accomplished documentary director, Jennifer Baichwal. We’ll discuss the visual researching process, how the intermingling archival footage and stills from past and present can evolve our expectations of the future, and the way a single image can punch a viewer in the gut and change their world view.
Elizabeth is delighted to have worked on 3 of the docs at this year's Toronto Film Festival.
-- Barry Avrich’s Prosecuting Evil: The Extraordinary World of Ben Ferencz
-- Astra Taylor’s NFB doc What is Democracy?
--Anthropocene, the third part in the trilogy of artfully thoughtful eco docs by Jennifer Baichwal, Edward Burtynsky
At Sunny Side, in pitches, sessions and screenings, the array of inventive, audacious, investigative, TV, feature, and series documentaries on view was inspiring. The founder of Sunny Side, Yves Jeanneau, calls his market a “Carrefour de resistance,” (Crossroad of Resistance) and in the psychological sense of respect for documentary and its makers in a dummied-down media world, it is.
I concentrated on History docs, which thanks in large part to the participation of our home-grown researcher and thinker Elizabeth Klinck, was this year’s theme at Sunny Side.
Eat That Question – Frank Zappa in His Own Words, includes no originally shot footage, relying on 100% archival material to build a portrait of the iconoclastic musician and composer. "There was this pure need for this film to be made in this form, to give Frank the platform to speak for himself," said director Thorsten Schutte. "Because if you look at this archive footage that we've been working with, the hundreds of hours, a whole different Frank Zappa emerges." Finding archival source material from around the world was a huge research effort. More than 70 sources were approached, and 40 archival sources were used in the final film.
We spoke with Elizabeth Klinck, the films Archive Producer, about the process of organizing this archival mega-search, finding rare archival gems and clearing the rights from a wide network of international sources
Elizabeth was asked to contribute to the CBC Comedy series The Neddeaus of Duqesne Island. The series is a spoof on 1970s Canadian documentary making. The show focuses about a peculiar family living in isolation on an island in Northern Ontario.
Elizabeth was interviewed along with comedian Colin Mochrie, actor Graham Greene, former Prime Minister Jean Chretein, and Elizabeth's good friend from CBC archive Roy Harris.
With over 200 films spread over its nine sections (including three newly minted ones), and on the cusp of inaugurating its first International Competition programme, the Thessaloniki Documentary Festival (TDF), the go-to doc gathering of the Balkans, is ready for its 19th edition (2-13 March), its first under the new management of Elise Jalladeau as its director and Orestis Andreadakis as its artistic director.
Le cinéma municipal projette aujourd'hui, à 21 heures, le documentaire de Thorsten Schütte «Eat that question, Frank Zappa in his own words». Traduisez littéralement «Ravale ta question». Le film, d'une durée de 1 h 28, sera diffusé par la chaîne «Arte» cet été. À l'occasion de cette avant-première mirapicienne, le réalisateur allemand sera présent, ainsi que l'archiviste Elizabeth Klinck. Tous deux s'entretiendront avec les spectateurs à l'issue de la projection.
Le documentaire de Thorsten Schütte aborde Zappa à travers son personnage public et sa relation houleuse avec les médias. À travers des interviews télévisées décapantes et des performances scéniques oubliées, le film nous révèle deux facettes de cet artiste complexe, à la carrière longue de trente ans. Zappa a été à la fois un compositeur charismatique, qui exultait sur scène, et un débatteur intelligent et sans compromis, qui n'a jamais renoncé à ses convictions.
In our new series The Art of the Business, Hot Docs speaks to prolific visual researcher Elizabeth Klinck. Elizabeth has over 36 years of experience and has worked on over 200 projects as a visual and editorial researcher, a visual archive and music right clearance specialist and a producer. She is also the founding chairperson of The Visual Researchers’ Society of Canada.
Frank Zappa is the latest musician to receive the all-archival doc treatment. Eat That Question: Frank Zappa In His Own Words looks at the life and philosophies of the late avant-garde rocker entirely through his interviews and TV appearances. Eight years in the making, the doc has the support of Zappa’s Family Trust and will have its world premiere out-of-competition at the Sundance Film Festival in January.
Visual researcher and DOC Toronto member Elizabeth Klinck, recipient of the 2014 DOC Star Award, is the subject of this month's DOC Member Spotlight.
"Digging, digging, digging." That's what visual researcher Elizabeth Klinck identifies as one of the key aspects of her job. At once hunter-gatherer and artistic collaborator, Klinck works with filmmakers to source and secure images that will complement their final work. What does this include? Klinck tracks down anything from photographs to Hollywood film clips to satellite images to logos. "Everything that you have not shot yourself as a filmmaker," she explains.
Elizabeth Klinck and Brett Story have been selected as the first two recipients of the DOC Institute Awards, the organization announced Tuesday.
The new awards, which will be presented annually, include two prizes: the DOC Star Award, which honours a celebrated documentation who also supports Canada’s non-fiction production community, and the New Vision Award, which celebrates an emerging filmmaker who is seen as a potential leader within the next generation of documentary filmmakers.
DOC Toronto’s The DOC Institute has announced its inaugural awards, giving the DOC Star Award to Elizabeth Klinck and the New Visions Award presented by Urban Post Production to Brett Story...(Continue Reading)
FOCAL International has announced its nominees for the 2014 Footage Awards, with Alex Gibney’s We Steal Secrets: The Story of WikiLeaks (pictured), BBC music doc David Bowie: Five Years and Kartemquin Films’ The Trials of Muhammad Ali among the shortlisted projects....(Continue reading)
The Canadian Screen Awards presented its honors for news and sports, documentary, lifestyle, reality and digital media Tuesday night in Toronto, and multiple winners included CTV’s The Amazing Race Canada, Food Network Canada’s You Gotta Eat Here! and History Channel Canada’s Museum Secrets.