What began in 1994 as a collaboration between UNC-TV and the North Carolina Media Alliance (NCMAA) to promote awareness of the state’s independent film community, is now its own established annual independent film series available to all the state’s residents on North Carolina’s only statewide public television network, UNC-TV. For a decade, North Carolina Visions series has succeeded in casting some of the state’s best and brightest independent filmmakers into the local limelight.

Over the years, North Carolina Visions has featured pieces from across the state—including student and faculty films and videos from the North Carolina School of the Arts, UNC-Greensboro, Appalachian State University, UNC-Chapel Hill and UNC-Wilmington. North Carolina Visions proudly introduced statewide audiences to up-and-coming talent, as well as established artists. From now-acclaimed Hollywood director David Gordon Green’s early class project, Physical Pinballto Slamdance alumni Brett Ingram and Jim Haverkamp’s Armor of God. From Marco Williams’ In Search of Our Fathers, that aired on PBS’s flagship public affairs program FRONTLINE, to Barbara Trent’s Oscar-winning Panama Deception.

Every year, UNC-TV’s mailbox continues to fill with even more compelling documentaries, powerful narratives, creative animations and innovative experimental films.

Wilmington filmmaker Bo Webb is a major player in North Carolina’s local film community. His film, Radio Helmet aired during the first season of North Carolina Visions in 1995. His comedy short Hammered later appeared during the third season in 1997. In 2005, his light-hearted narrative The Idea Guy premiered alongside 20 other films and videos for the 10th anniversary season of the state’s independent film series.

As a three-time Visions alum, Webb has been in the unique position to see the series from its earliest beginnings to its more recent small-screen incarnations. Webb believes that the series has contributed greatly to the overall film community.

“North Carolina Visions has become a great outlet for filmmakers—like an ongoing festival that anyone can watch,” says Webb. “I'm glad that North Carolina supports its local artists this way. It's just good to know that this kind of venue exists at all.”

So, what’s Webb’s favorite part of each episode of North Carolina Visions series? “I think the filmmaker Q&A segments are my favorite part,” says Webb. “It’s always great to hear what people have to say about their work!”

Webb has also seen the larger film community in North Carolina grow and change. “I'm really impressed with the local film community's growth since 1992. The School of the Arts and UNC-Wilmington's Film Studies program have brought many enthusiastic, intelligent people, and I think the quality of independent film has improved,” says Webb. “I'm glad to see how, for example, the Cucalorus Film Festival has gotten so great after 10 years, and how many smaller independent films choose to film in North Carolina. It's always been my hope that North Carolina would produce its own films, without relying so heavily on Los Angeles, and things have slowly been moving in that direction.”

In 1997, a severe blow was dealt to North Carolina creative community with the untimely passing North Carolina filmmaking talent, Jeff Leighton. To honor this filmmaker and independent film advocate, UNC-TV opened the third season of North Carolina Visions with a rebroadcast of two of his finest works, Runaways (1996) and Goodnight, Alden (1995).

Leighton’s wife, Kim DeCoste, produced both films and has served as a juror for selecting films on North Carolina Visions. As a longtime member of the North Carolina film community, the Raleigh resident understands, first-hand, the exposure for local filmmaking that the series has provided.

“I love being able to become familiar with the other film work being done by my fellow North Carolina filmmakers,” says DeCoste. “I want to thank UNC-TV for having the vision to provide this wonderful opportunity to North Carolina's filmmakers, and I hope that North Carolina Visions continues on into the future.”

A rare four-time Visions alum, filmmaker Brett Ingram’s series resume includes The Homeplace (1992); Spent (1995); Panic Attack (2001); and Armor of God (2002).

"North Carolina Visions has given me an audience for my work over the years—an audience I would otherwise not have had,” says Ingram. “I can't tell you how rewarding it is to get an e-mail out of the blue from someone who happened upon one of my films on TV and was moved enough to write me about it. It makes filmmaking even more worthwhile.”

The Greensboro resident believes that the series has contributed greatly not only to his own personal filmmaking career and prospects, but also to the overall North Carolina film community.

“[North Carolina] Visions has strengthened the regional filmmaking community by bringing together the work of filmmakers who are either working in virtual isolation or within small networks,” says Ingram. “Perhaps the most important accomplishment of Visions is that of giving voice to regional films which would otherwise not be broadcast on PBS or any other cable or broadcast venue. North Carolina Visions is the greatest thing to happen to UNC-TV. Viva North Carolina Filmmaking!”

It is this great talent and undying enthusiam that makes North Carolina Visions what it is today —a unique, entertaining, and thought-provoking film series made by the people of North Carolina for the people of North Carolina. North Carolina Visions will continue to be the state’s premier small screen showcase for all forms of film and video expression made by hometown filmmakers for viewers like you.