"Kartemquin Films is the progenitor of a glorious documentary tradition that reverberates across the global field. Patricia Aufderheide, one of our finest documentary historians, ethnographers, and thinkers, captures the heart of the astonishing Kartemquin story as only she can--with her trademark beautiful writing, passion, and meticulous attention to detail. This book is required reading for anyone who seeks to understand the past, present, and future of social-issue documentary storytelling and why the form matters so much to democracy."--Caty Borum, author of Story Movements: How Documentaries Empower People and Inspire Social Change and Executive Director of the Center for Media & Social Impact
"I was one of those aspiring young filmmakers who sat in a lonely cinema in central London back in 1995 entirely enraptured at Hoop Dreams. When the lights came up, my life had totally changed--what I wanted to do and how I wanted to do it. What I saw on screen was a great film, but also a calling to a practice. What I came to learn and deeply respect was the story of an 'improbable American cultural institution' behind the movie, a band of brothers and sisters who redefined what participating fully in society as artists and creatives could look like; who championed citizen-led documentary; who built community through their organization over decades and transformed the field beyond. Thank you, team Kartemquin, doesn't really cut it. But also, really, thank you. For the work and the faith in the work--over all these years."--Beadie Finzi, Director, Doc Society"Kartemquin has been a constant force in the documentary field since the turbulent 1960s, yet it hasn't received the recognition it deserves as a resilient, evolving institution that prioritizes its mission and core values over publicity, self-promotion, and celebrity culture. Aufderheide's book puts Kartemquin in its rightful place--socially, culturally, and historically--and positions the media company as a stalwart institution buoyed by artists, storytellers, activists, and leaders who see social justice documentary filmmaking as a tool to uphold democracy. The book also provides the documentary field with a historical account of the conditions that gave rise to Kartemquin Films, and a blueprint for how we in the documentary film industry can survive in a rapidly changing media ecosphere without sacrificing our mission and our purpose. Kartemquin Films: Documentaries on the Frontlines of Democracy shows us that longevity in the industry is possible so long as we hold on to our passion, our values, and our mission to tell purpose-driven stories."--Byron Hurt, filmmaker of Hazing
"For too long, Kartemquin has existed on the fringes of film scholarship. In this fascinating study, Aufderheide sheds a clarifying light on this important studio, their contributions to social documentary, and their indelible mark on the broader media landscape. Braiding together analysis of individual films, archival documents, and original interviews, Aufderheide has written a meticulous history of Kartemquin as it evolved from a grassroots collective to a media arts organization. Importantly, Aufderheide skillfully examines how the filmmaking and advocacy work of Kartemquin over the past fifty years have helped to expand the range of venues available to independent documentarians and the resources they can draw on for their projects."--Joshua Glick, author of Los Angeles Documentary and the Production of Public History, 1958-1977
"Patricia Aufderheide would have made a valuable contribution to our understanding of contemporary documentary cinema simply by telling the story of the pathbreaking production company Kartemquin Films. But Kartemquin Films: Documentaries on the Frontlines of Democracy offers much more. As a public intellectual with a journalist's eye, she elevates her tale with insights into Deweyan philosophy, media studies, and the evolution of the democratic left--including events she saw first hand. The result is an engaging, challenging, and uplifting piece of history that belongs on every film lover's bookshelf."--David Lieberman, former Executive Editor of Deadline and Associate Professor of Professional Practice in Media Management, The New School
