The Invention of Northeastern Europe: The Geopolitics of Programming at Documentary Film Festivals

2020 ◽  
pp. 73-91
Author(s):  
Ilona Hongisto ◽  
Kaisu Hynnä-Granberg ◽  
Annu Suvanto
Keyword(s):  
Documentary Film ◽  
Film Festivals ◽  
Northeastern Europe

Elsewhere: The Last Circus

2020 ◽  
Vol 74 (1) ◽  
pp. 84-87
Author(s):  
Bilal Qureshi
Keyword(s):  
Social Order ◽  
Documentary Film ◽  
Small Scale ◽  
Film Festival ◽  
Film Festivals ◽  
Collective Experience ◽  
Regional Location ◽  
True False ◽  
Falling In Love

FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

Examining Markets, Marketing, Consumers, and Society through Documentary Films

2011 ◽  
Vol 31 (4) ◽  
pp. 403-409 ◽  
Author(s):  
Russell Belk
Keyword(s):  
Documentary Film ◽  
Video Recording ◽  
Public Perceptions ◽  
Literacy Skills ◽  
Documentary Films ◽  
Film Festivals ◽  
Great Opportunity ◽  
Historical Film ◽  
The World ◽  
Online Access

Documentary film is over 100 years old and includes subgenres such as ethnography, historical film, docu-drama, propaganda, and advocacy videos. With numerous film archives, film festivals, special DVD issues of journals, inexpensive video recording and editing equipment, Internet distribution, and the phenomenal growth of archival Internet sites such as YouTube and Vimeo, there are now hundreds of millions of documentary films and videos available to the interested researcher. The author argues that the macromarketing field has greatly underutilized this vast resource and suggests examples of sources and uses for such material. The author also suggests some aids for acquiring critical visual literacy skills to inform such analyses. Just as we rely on our libraries and online access for books and print journals, we can readily do the same with documentary films. Such analytical projects can be presented as either video documentaries themselves, as text-based articles and books, or as multimedia combinations. Film, video, Internet, and television images arguably do more to influence public perceptions of marketing, consumption, and life than any other medium. There is thus a great opportunity to understand society through this window on the world.

A HISTORY OF THE MOSCOW INTERNATIONAL FESTIVAL OF VISUAL ANTHROPOLOGY “MEDIATING CAMERA”

2021 ◽  
Vol 43 (4) ◽  
pp. 482-494
Author(s):  
Evgeny Alexandrov ◽  
Elena Danilko
Keyword(s):  
Present Article ◽  
Documentary Film ◽  
Initial Period ◽  
Focus Of Attention ◽  
Visual Anthropology ◽  
Turn Of The Millennium ◽  
Film Festivals ◽  
History Of ◽  
International Festival ◽  
Volunteer Group

The Ninth International FestivalBiennale “Mediating Camera” was held in Moscow in May 2021. This is the first Russian festival organized on the principles of visual anthropology and still adhering to that vision. The present article reports on the festival, the history of its establishment and development, and the changes it endured in the first twenty years since the turn of the millennium. The introduction briefly discusses visual anthropology and its situation in the USSR on the eve of Perestroika. The next section describes the first Russian documentary film festivals with similar angles. Further in the article, the authors discuss the approaches and principles adopted by the festival’s creators, a volunteer group of Moscow State University’s Center for Visual Anthropology. The main focus of attention is the initial period of the festival’s formation, when the organizers’ approaches to organizing the festival first took shape.

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