Continuing our series of letters from past executive producers for POV, Ellen Schneider admits her initial skepticism of the new program, and her surprise when audiences and the press alike couldn't get enough of the show's initial programming.

'Hoop Dreams' is a tasteful exception to the branded merchandise of Hollywood movies.

Sometimes the coolest film discoveries lurk in dusty cardboard filing boxes.

Is the personal political? Kartemquin Films retrospective engages visitors on this crucial question.

Sometimes an interview question seems so simple that it belies the cultural depths that inform it.

How Kartemquin Films' 1974 short 'Trick Bag' illuminated the intersectionalities of race and class.

In the Game makes an important contribution to girls' sports documentary with its balanced approach to representing a team and life.

"When you start a documentary like this, you don't know until the very end whether or not you have a story."

Three recent documentaries address glaciers and climate change with differing focus on science, spectacle and storytelling.

A look back on using The New York Times Op-Doc series as the focus for a course in online documentary production.

Some key resources, both online and in print, that helped develop materials for The New York Times Op-Docs curriculum.

Following a semester of teaching online documentary production through the Op-Docs series, this post offers a round-up of the assignments used in the course.

An upcoming documentary series from Kartemquin Films tells stories about people working to make a living and working to make a life following the economic recession.

Elizabeth Lo's short film (and New York Times Op-Doc) Hotel 22 became the focus for a session about sound in documentary.

Not all documentary characters are represented as heroes, and nor should they be.

A new app brings together a series of materials about the ideas of consuming and being consumed.

As a viewer, I pay too much attention to B-roll. One reason is that B-roll is often intercut with interviews, and it changes the dynamics of movement within the frame.

"Where do you get ideas for documentaries?" is the number one question I have received through comments and conversations over the years. Here are some starting points to consider.