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68-504: He is an influencer, entrepreneur, grass-root organizer, special events producer, motivator, inspirational and touches people's life from all walks of life. His Documentary How Do I Look is screened worldwide and is used by University students for thesis. He lectures about Artistic Empowerment and HIV/AIDS awareness at prestigious universities, Yale, NYU, Penn State, not for profit organizations, The Door, Hetrick Martin Institute, Fierce,

136-591: A Metropolis (dir. Walter Ruttmann , 1927); Man with a Movie Camera (dir. Dziga Vertov , 1929); Douro, Faina Fluvial (dir. Manoel de Oliveira , 1931); and Rhapsody in Two Languages (dir. Gordon Sparling , 1934). A city symphony film, as the name suggests, is most often based around a major metropolitan city area and seeks to capture the life, events and activities of the city. It can use abstract cinematography (Walter Ruttman's Berlin ) or may use Soviet montage theory (Dziga Vertov's, Man with

204-421: A Movie Camera ). Most importantly, a city symphony film is a form of cinepoetry , shot and edited in the style of a " symphony ". The European continental tradition ( See: Realism ) focused on humans within human-made environments, and included the so-called city symphony films such as Walter Ruttmann's, Berlin: Symphony of a Metropolis (of which Grierson noted in an article that Berlin, represented what

272-429: A Summer ( Jean Rouch ), Dont Look Back ( D. A. Pennebaker ), Grey Gardens ( Albert and David Maysles ), Titicut Follies ( Frederick Wiseman ), Primary and Crisis: Behind a Presidential Commitment (both produced by Robert Drew ), Harlan County, USA (directed by Barbara Kopple ), Lonely Boy ( Wolf Koenig and Roman Kroitor ) are all frequently deemed cinéma vérité films. The fundamentals of

340-527: A broader perspective, as a reaction against studio-based film production constraints. Shooting on location, with smaller crews, would also happen in the French New Wave , the filmmakers taking advantage of advances in technology allowing smaller, handheld cameras and synchronized sound to film events on location as they unfolded. Although the terms are sometimes used interchangeably, there are important differences between cinéma vérité ( Jean Rouch ) and

408-595: A decade. How Do I Look preserves the ball culture, which began in the 1920s during the Harlem Renaissance , and has since influenced mainstream artists and musicians, university students use the film for thesis, community based and not for profit organizations for education and outreach. The film follows several ball "legends" such as Willi Ninja , Kevin UltraOmni , Octavia St. Laurent , Pepper LaBeija , Jose Xtravaganza and Carmen Xtravaganza . Many of

476-630: A documentary should not be); Alberto Cavalcanti's, Rien que les heures; and Dziga Vertov's Man with a Movie Camera . These films tend to feature people as products of their environment, and lean towards the avant-garde. Dziga Vertov was central to the Soviet Kino-Pravda (literally, "cinematic truth") newsreel series of the 1920s. Vertov believed the camera – with its varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion – could render reality more accurately than

544-437: A form of journalism, advocacy, or personal expression. Early film (pre-1900) was dominated by the novelty of showing an event. Single-shot moments were captured on film, such as a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films; the term "documentary" was not coined until 1926. Many of the first films, such as those made by Auguste and Louis Lumière , were

612-515: A major battle and re-enact scenes to film them. The propagandist tradition consists of films made with the explicit purpose of persuading an audience of a point. One of the most celebrated and controversial propaganda films is Leni Riefenstahl 's film Triumph of the Will (1935), which chronicled the 1934 Nazi Party Congress and was commissioned by Adolf Hitler . Leftist filmmakers Joris Ivens and Henri Storck directed Borinage (1931) about

680-437: A minute or less in length, due to technological limitations. Examples can be viewed on YouTube. Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight . Using pioneering film-looping technology, Enoch J. Rector presented

748-506: A more poetic aesthetic approach to documentary. Examples of their work include Drifters (John Grierson), Song of Ceylon (Basil Wright), Fires Were Started , and A Diary for Timothy (Humphrey Jennings). Their work involved poets such as W. H. Auden , composers such as Benjamin Britten , and writers such as J. B. Priestley . Among the best known films of the movement are Night Mail and Coal Face . Calling Mr. Smith (1943)

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816-577: A new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts for interpreting the modern world; and that materials "thus taken from the raw" can be more real than the acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality" has gained some acceptance; however, this position is at variance with Soviet film-maker Dziga Vertov 's credos of provocation to present "life as it is" (that is, life filmed surreptitiously), and "life caught unawares" (life provoked or surprised by

884-428: A resource to teach various principles . Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic. Social media platforms (such as YouTube ) have provided an avenue for the growth of the documentary- film genre . These platforms have increased the distribution area and ease-of-accessibility. Polish writer and filmmaker Bolesław Matuszewski

952-492: A review of "Transgender Sex Work and Society," which has been described as the definitive book about transgender sex work, a transgender star of How Do I Look was noted for her frank talk about transgender sex work. How Do I Look began filming in the wake of accusations that Jennie Livingston the filmmaker behind Paris Is Burning had exploited the Ballroom community after the release of that film. The accused exploitation

1020-529: A situation referred to as being on the down low. Often, the film's numerous screenings in academic settings were reported. In the years following its release, How Do I Look has repeatedly been the subject of reports in the foreign press, including in the French public radio channel, France Inter. The documentary was noted for its goal of empowering the LGBTQ Ballroom community, in particular following

1088-443: A weekly TV show highlighting cultural and educational aspects of various communities such as the local New York City Rock and R & B communities, LGBT , reaching 500,000 Manhattan households. The show was a successful outreach tool for artists and not for profit organizations and Busch was able to sign national and international licensing deals for Barbara Powell and Jimmy Lifton. As an openly gay artist, he has been embraced by

1156-590: A wide range of LGBT organizations to produce high level events including GLAMA (The Gay and Lesbian American Music Awards), SAGE (Senior Action in a Gay Environment) Lifetime Achievement Awards ceremonies and events for LifeBeat , Center For the Media Arts and Gay and Lesbian Community Services Center. Busch's video production work can be seen on Film, the After Stonewall documentary, CBS , MTV , PBS , CNBC, E channel, New York 1, France, England on

1224-514: A wordless meditation on wartime Britain. From 1982, the Qatsi trilogy and the similar Baraka could be described as visual tone poems, with music related to the images, but no spoken content. Koyaanisqatsi (part of the Qatsi trilogy ) consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. Baraka tries to capture

1292-529: Is Burning, stating that they felt exploited and taken advantage of. As an independent film production, How Do I Look did not receive financing or distribution from the commercial film industry. The filmmakers arranged independent screenings and distribution world-wide. As a result, the film was not made widely available in commercial movie theatres or art-houses upon its release in June 2006 during Gay Pride month. The documentary's earnings have principally come from

1360-683: Is a non-fictional motion picture intended to "document reality, primarily for instruction, education or maintaining a historical record ". Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries". Early documentary films, originally called " actuality films ", briefly lasted for one minute or less. Over time, documentaries have evolved to become longer in length and to include more categories. Some examples are educational , observational and docufiction . Documentaries are very informative , and are often used within schools as

1428-474: Is a separate area. Pathé was the best-known global manufacturer of such films in the early 20th century. A vivid example is Moscow Clad in Snow (1909). Biographical documentaries appeared during this time, such as the feature Eminescu-Veronica-Creangă (1914) on the relationship between the writers Mihai Eminescu , Veronica Micle and Ion Creangă (all deceased at the time of the production), released by

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1496-419: Is an anti-Nazi color film created by Stefan Themerson which is both a documentary and an avant-garde film against war. It was one of the first anti-Nazi films in history. Cinéma vérité (or the closely related direct cinema ) was dependent on some technical advances to exist: light, quiet and reliable cameras, and portable sync sound. Cinéma vérité and similar documentary traditions can thus be seen, in

1564-670: The Bucharest chapter of Pathé . Early color motion picture processes such as Kinemacolor (known for the feature With Our King and Queen Through India (1912)) and Prizma Color (known for Everywhere With Prizma (1919) and the five-reel feature Bali the Unknown (1921)) used travelogues to promote the new color processes. In contrast, Technicolor concentrated primarily on getting their process adopted by Hollywood studios for fiction feature films. Also during this period, Frank Hurley 's feature documentary film, South (1919) about

1632-666: The Imperial Trans-Antarctic Expedition was released. The film documented the failed Antarctic expedition led by Ernest Shackleton in 1914. With Robert J. Flaherty 's Nanook of the North in 1922, documentary film embraced romanticism . Flaherty filmed a number of heavily staged romantic documentary films during this time period, often showing how his subjects would have lived 100 years earlier and not how they lived right then. For instance, in Nanook of

1700-722: The Village Voice , the New York Post, and the New York Times . Early on, How Do I Look was noted as an " artistic awareness program," alluding to the film's noble aspects to improve the Ballroom communities public reputation, providing opportunities and to empower members of the Ballroom community. The media attention also focused on the African-American and Latino gay subculture, who were known to go to lengths to keep their homosexuality "under wraps,"

1768-806: The "NY / Tokyo Youth Baseball Sister, City Exchange Program", sponsored by the United Nations and the Mayors office, Draco Editing Award, for co-producing with Darryl Hell the MTV music video of the band "Sum", Live Audio for the Ace Award winning Gospel TV show "Gospel Today", Mikie Award for sound and lights at the Pines and Cherry Grove, Fire Island Arts Project, Camera for the Emmy Award Winning Series on PBS for Sterling Films, Volunteer of

1836-884: The 1920s and 1930s. These films were particularly influenced by modern art , namely Cubism , Constructivism , and Impressionism . According to art historian and author Scott MacDonald , city symphony films can be described as, "An intersection between documentary and avant-garde film: an avant-doc "; however, A.L. Rees suggests regarding them as avant-garde films. Early titles produced within this genre include: Manhatta (New York; dir. Paul Strand , 1921); Rien que les heures /Nothing But The Hours ( France ; dir. Alberto Cavalcanti , 1926); Twenty Four Dollar Island (dir. Robert J. Flaherty , 1927); Moscow (dir. Mikhail Kaufman , 1927); Études sur Paris (dir. André Sauvage , 1928); The Bridge (1928) and Rain (1929), both by Joris Ivens ; São Paulo, Sinfonia da Metrópole (dir. Adalberto Kemeny , 1929), Berlin: Symphony of

1904-708: The AIDS pandemic, as was reported in Italian Vogue . In Spanish Vanity Fair , the documentary was noted for having given new life to the vogue (dance) artistic impression, in particular by having added social, racial, and political conscience to the Ballroom community. Because How Do I Look was produced by and for the Ballroom community, it has been praised for having the coöperation of the Ball community in its production and for being faithful to its subject matter. The documentary has been named to several must-watch lists by

1972-451: The Ball "children" due to their sexuality: ... "If Madonna does voguing , it's O.K.," he added. "But when the ball children dance, even now, people say, 'Oh, it's a bunch of crazy queens throwing themselves on the floor.'" Other subjects speak about their attempts to forge careers in mainstream society and the effect that HIV and AIDS has had on ball culture as many of the subjects featured died of AIDS during or shortly after filming

2040-553: The Belgian coal mining region. Luis Buñuel directed a " surrealist " documentary Las Hurdes (1933). Pare Lorentz 's The Plow That Broke the Plains (1936) and The River (1938) and Willard Van Dyke 's The City (1939) are notable New Deal productions, each presenting complex combinations of social and ecological awareness, government propaganda, and leftist viewpoints. Frank Capra 's Why We Fight (1942–1944) series

2108-810: The Furnaces , from 1968), directed by Octavio Getino and Fernando Solanas , influenced a whole generation of filmmakers. Among the many political documentaries produced in the early 1970s was "Chile: A Special Report", public television's first in-depth expository look at the September 1973 overthrow of the Salvador Allende government in Chile by military leaders under Augusto Pinochet , produced by documentarians Ari Martinez and José Garcia. A June 2020 article in The New York Times reviewed

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2176-763: The Gay Men's Health Crisis, the LGBT Community Center in New York City & Chicago, and in Churches in New York City & San Francisco; and internationally in London, Amsterdam, Paris and Berlin. After filming the ballroom community from 1995 until 2006, Busch released in 2006 his first feature-length documentary How Do I Look , which is about the Harlem house ball community, also known as Ballroom,

2244-710: The Internet and on the Island of Bermuda and Jamaica. Busch's company Art From The Heart Films was inducted into the Best Gay & Lesbian Business in Queens, NY for eight consecutive years and Busch has received numerous awards: Martin Luther King Jr. Keep The Dream Alive Humanitarian Award, Gay City News Impact Award, The A-List Award from Schneps Media, Pill Award for Best Documentary, Communicator Award, director for

2312-695: The LGBT (Lesbian, Gay, Bisexual and Transgender) community and people with disabilities in the performing arts, The Special Needs Color Guard of America. His up-coming release is about the New York City Rock Live Music Scenes during the 1980s and 1990s and ballroom icon Octavia St. Laurent. Wolfgang started his career in the music industry in New York City in 1985 at the Local 802, the musicians union, producing seminars and showcases for its Rock R&B committee and its 1,200 members. He

2380-648: The LGBTQ media. Them, the LGBTQ publication owned by Conde Naste, short-listed How Do I Look in its review of Ballroom history. Out magazine listed How Do I Look amongst six films about the Ballrooms and voguing. Mainstream culture publications, like W magazine, have also short-listed How Do I Look as a must-see "pride" film for LGBTQ audiences. The revealing interviews documented in How Do I Look have been lauded, in retrospect, for having been ahead of their time. In

2448-574: The North , Flaherty did not allow his subjects to shoot a walrus with a nearby shotgun, but had them use a harpoon instead. Some of Flaherty's staging, such as building a roofless igloo for interior shots, was done to accommodate the filming technology of the time. Paramount Pictures tried to repeat the success of Flaherty's Nanook and Moana with two romanticized documentaries, Grass (1925) and Chang (1927), both directed by Merian C. Cooper and Ernest Schoedsack . The " city symphony " sub film genre consisted of avant-garde films during

2516-680: The North American " direct cinema " (or more accurately " cinéma direct "), pioneered by, among others, Canadians Michel Brault , Pierre Perrault and Allan King , and Americans Robert Drew , Richard Leacock , Frederick Wiseman and Albert and David Maysles . The directors of the movement take different viewpoints on their degree of involvement with their subjects. Kopple and Pennebaker, for instance, choose non-involvement (or at least no overt involvement), and Perrault, Rouch, Koenig, and Kroitor favor direct involvement or even provocation when they deem it necessary. The films Chronicle of

2584-465: The Penguins , and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable. The nature of documentary films has expanded in the past 30 years from the cinéma vérité style introduced in the 1960s in which

2652-581: The Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest : Walking Troubles of Organic Hemiplegy (1898), The Walking Troubles of Organic Paraplegies (1899), A Case of Hysteric Hemiplegy Healed Through Hypnosis (1899), The Walking Troubles of Progressive Locomotion Ataxy (1900), and Illnesses of the Muscles (1901). All these short films have been preserved. The professor called his works "studies with

2720-664: The Year by the Gay & Lesbian Community Center and the Dedicated Service Award from Metropolitan Community Athletic Association of NY. How Do I Look How Do I Look is a 2006 American documentary directed by Wolfgang Busch . The film chronicles ball culture in Harlem and Philadelphia over a ten-year period. Wolfgang Busch began interviewing subjects from the ball circuit in 1995 and continued filming for

2788-485: The advantage of documentaries lies in introducing new perspectives which may not be prevalent in traditional media such as written publications and school curricula. Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content, form, and production strategies to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries. Documentary filmmaking can be used as

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2856-474: The camera). The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic." Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents. Scholar Betsy McLane asserted that documentaries are for filmmakers to convey their views about historical events, people, and places which they find significant. Therefore,

2924-498: The creation of a Film Archive to collect and keep safe visual materials. The word "documentary" was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty 's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson). Grierson's principles of documentary were that cinema's potential for observing life could be exploited in

2992-429: The development of "reality television" that occasionally verges on the documentary but more often veers to the fictional or staged. The "making-of" documentary shows how a movie or a computer game was produced. Usually made for promotional purposes, it is closer to an advertisement than a classic documentary. Modern lightweight digital video cameras and computer-based editing have greatly aided documentary makers, as has

3060-407: The director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as " mondo films " or "docu-ganda." However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to

3128-452: The dramatic drop in equipment prices. The first film to take full advantage of this change was Martin Kunert and Eric Manes ' Voices of Iraq , where 150 DV cameras were sent to Iraq during the war and passed out to Iraqis to record themselves. Films in the documentary form without words have been made. Listen to Britain , directed by Humphrey Jennings and Stuart McAllister in 1942, is

3196-536: The early part of the 20th century. They were often referred to by distributors as "scenics". Scenics were among the most popular sort of films at the time. An important early film which moved beyond the concept of the scenic was In the Land of the Head Hunters (1914), which embraced primitivism and exoticism in a staged story presented as truthful re-enactments of the life of Native Americans . Contemplation

3264-527: The entirety of a famous 1897 prize-fight on cinema screens across the United States. In May 1896, Bolesław Matuszewski recorded on film a few surgical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Matuszewski and Clément Maurice to record his surgical operations. They started in Paris a series of surgical films sometime before July 1898. Until 1906,

3332-605: The film aimed to create "possibilities" for members of the Ballroom community. How Do I Look was filmed in New York City and Philadelphia . It premiered at the NewFest Film Festival in New York City in June 2006. The assistant directors were Kevin Burrus and Luna Khan. How Do I Look was released on Region 1 DVD in the United States. Documentary film A documentary film or documentary

3400-520: The films was so vital that they were often given co-director credits. Famous cinéma vérité/direct cinema films include Les Raquetteurs , Showman , Salesman , Near Death , and The Children Were Watching . In the 1960s and 1970s, documentary film was often regarded as a political weapon against neocolonialism and capitalism in general, especially in Latin America, but also in a changing society. La Hora de los hornos ( The Hour of

3468-533: The form due to problematic ontological foundations. Documentary filmmakers are increasingly using social impact campaigns with their films. Social impact campaigns seek to leverage media projects by converting public awareness of social issues and causes into engagement and action, largely by offering the audience a way to get involved. Examples of such documentaries include Kony 2012 , Salam Neighbor , Gasland , Living on One Dollar , and Girl Rising . Although documentaries are financially more viable with

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3536-694: The help of the cinematograph," and published the results, along with several consecutive frames, in issues of La Semaine Médicale magazine from Paris, between 1899 and 1902. In 1924, Auguste Lumière recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving La Semaine Médicale , but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way." Travelogue films were very popular in

3604-428: The human eye, and created a film philosophy from it. The newsreel tradition is important in documentary film. Newsreels at this time were sometimes staged but were usually re-enactments of events that had already happened, not attempts to steer events as they were in the process of happening. For instance, much of the battle footage from the early 20th century was staged; the cameramen would usually arrive on site after

3672-471: The increasing popularity of the genre and the advent of the DVD, funding for documentary film production remains elusive. Within the past decade, the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source. Modern documentaries have some overlap with television forms, with

3740-665: The landmark 14-hour Eyes on the Prize : America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, 4 Little Girls (1997) by Spike Lee , The Civil War by Ken Burns , and UNESCO-awarded independent film on slavery 500 Years Later , express not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporate stylized re-enactments, and Michael Moore 's Roger & Me place far more interpretive control with

3808-594: The originators of the dance "Vogue" (see also ball culture ). Wolfgang's second release in 2911 was [Flow Affair; * http://www.FlowAffair.weebly.com ], which is about the New York City and San Francisco flagging and fanning dance community with the origin in the gay leather bars in the late 1970s in New York City. Founder of Art From The Heart LLC in 2006, a video production company focusing on trend setting under-served artistic communities in New York, Chicago and San Francisco, producing authentic art documentaries for

3876-513: The political documentary And She Could Be Next , directed by Grace Lee and Marjan Safinia. The Times described the documentary not only as focusing on women in politics, but more specifically on women of color, their communities, and the significant changes they have wrought upon America. Box office analysts have noted that the documentary film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11 , Super Size Me , Food, Inc. , Earth , March of

3944-416: The sale of DVD's and, more recently, from online streaming sites. Over the years, however, How Do I Look has earned commercial success by word of mouth recommendations, its numerous appearances in film festivals, Black Prides and Universities, and from its good standing relationship with the Ball community. Prior to its release in 2006, early screenings of How Do I Look garnered prominent media mentions in

4012-530: The style include following a person during a crisis with a moving, often handheld, camera to capture more personal reactions. There are no sit-down interviews, and the shooting ratio (the amount of film shot to the finished product) is very high, often reaching 80 to one. From there, editors find and sculpt the work into a film. The editors of the movement – such as Werner Nold , Charlotte Zwerin , Muffie Meyer , Susan Froemke , and Ellen Hovde  – are often overlooked, but their input to

4080-426: The subjects that are featured in How Do I Look were also featured in the 1990 documentary Paris Is Burning . How Do I Look also explores the prejudices members of the ball culture face due to their sexuality and race. In a 2005 New York Times article, choreographer and voguing dance ambassador Willi Ninja commented about the mainstream society's readiness to embrace facets of ball culture while also rejecting

4148-432: The use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as Marlon Riggs 's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials. Historical documentaries, such as

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4216-494: The year of his last film, Doyen recorded more than 60 operations. Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive. Between July 1898 and 1901,

4284-816: Was a club promoter, booking agent, host and special events & fundraising producer at legendary disco's, the Limelight, Palladium, The Tunnel, Danceteria and China Club and had 1,000 bands on his roller desk. He served on the Boards of Directors for the MetroBears, Outmusic, All Out Arts, MCAANY (Metropolitan Community Athletic Association NY), on the Manhattan Neighborhood Network TV producers committee and served on C. Virginia Field, Manhattan Borough President's Gay and Lesbian advisory council. From 1990-2000 he produced New York New Rock ,

4352-687: Was a newsreel series in the United States, commissioned by the government to convince the U.S. public that it was time to go to war. Constance Bennett and her husband Henri de la Falaise produced two feature-length documentaries, Legong: Dance of the Virgins (1935) filmed in Bali , and Kilou the Killer Tiger (1936) filmed in Indochina . In Canada, the Film Board , set up by John Grierson,

4420-426: Was among those who identified the mode of documentary film. He wrote two of the earliest texts on cinema, Une nouvelle source de l'histoire ("A New Source of History") and La photographie animée ("Animated photography"). Both were published in 1898 in French and were among the earliest written works to consider the historical and documentary value of the film. Matuszewski is also among the first filmmakers to propose

4488-428: Was complete. How Do I Look? is hailed by members of the ball community, as a film that uplifts and prioritizes voices and experiences of community members. Many cast members express disdain and frustration over how Paris is Burning was produced, edited, and received by the public. Cast members, such as Carmen Xtravaganza and Marcel Christian Labeija, express frustration over how the cast was treated and portrayed in Paris

4556-610: Was set up for the same propaganda reasons. It also created newsreels that were seen by their national governments as legitimate counter-propaganda to the psychological warfare of Nazi Germany orchestrated by Joseph Goebbels . In Britain, a number of different filmmakers came together under John Grierson. They became known as the Documentary Film Movement . Grierson, Alberto Cavalcanti , Harry Watt , Basil Wright , and Humphrey Jennings amongst others succeeded in blending propaganda, information, and education with

4624-459: Was the inspiration for How Do I Look , said co-assistant director Kevin Omni . In the years since How Do I Look was released, the documentary has been mentioned by many as providing balance to and/or a follow-up or sequel of content of Paris Is Burning . Two of the assistant directors of the film are members of the Ballroom community, Kevin Omni and Luna Khan. In the media, Omni has also noted that

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