The New Yorker magazine is venturing into the world of short documentaries, leveraging visual storytelling to engage its readers and online audience. Paul Moakley and Sarah Lash, key figures in this endeavor, explain how these shorts align with the magazine's intellectual history and strive to offer fresh perspectives on contemporary topics.
The conference room at One World Trade Center, high above a New York City plaza dotted with respectful tourists, contains few distinguishing features. A large screen, an unadorned table, plenty of charging plugs — the antiseptic business of the modern meeting space.
Longform visual storytelling, it would seem, is safe in the TikTok age. And it’s safe thanks to an august media brand that rose to prominence years before anyone heard of ByteDance.“When I started at Condé Nast 10 years ago, the mandate was we couldn’t do a video over six minutes. Then it became 15. It kept creeping up because people want to be immersed in a good story.”
The magazine also has other ways of monetizing the films, like developing them for Condé Nast’s film and television division, run by Hollywood producer vet Helen Estabrook. stays on track. Pairing a film with a relevant text story can also deepen engagement — an advantage Netflix doesn’t enjoy.
Documentary The New Yorker Visual Storytelling Short Films Online Content
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