Pitch perfect
in The documentary diaries
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Films need backing and financing. Markets like the Sheffield Documentary Festival, MIPCOM in Cannes, HotDocs, Leipzig, and MIP TV have now become essential venues for pitching opportunities, making sales, schmoozing, meeting people, and exchanging ideas regarding single films, and series, financing and coproducing. The combatants were divided into fifteen commissioning editors, and ten filmmakers who had been selected to make a pitch. Since Australia, many documentary markets and festivals have adopted the pitching idea. Every year The International Association of Independent Producers of the Mediterranean (APIMED), a small film market in the seaside town of Sitges, near Barcelona, sends out an open call for film proposals for the MEDIMED documentary market. One of the best things about MEDIMED is that it provides a preparation workshop for all those who have come to present proposals.

The documentary diaries

Working experiences of a non-fiction filmmaker

Metrics

All Time Past Year Past 30 Days
Abstract Views 21 5 0
Full Text Views 22 3 0
PDF Downloads 11 3 0