The Sibiu Documentary Film Festival, October 20-22, 1994

1995 ◽  
Vol 11 (1) ◽  
pp. 139-140 ◽  
Author(s):  
Asen Balikci
Keyword(s):  
Documentary Film ◽  
Film Festival

The iAnimal Film Series

Screen Bodies ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 44-61
Author(s):  
Holly Cecil
Keyword(s):  
Animal Studies ◽  
Documentary Film ◽  
Academic Research ◽  
Short Film ◽  
Film Festival ◽  
Embodied Experience ◽  
Critical Animal Studies ◽  
Advocacy Organizations ◽  
Film Series

This article explores the innovative use of virtual reality (VR) technology in nonfiction documentary film formats by animal-advocacy organizations. I examine the potential of the VR medium to communicate the living and dying environments of factory-farmed animals, and to generate viewer empathy with the animal subjects in their short, commodified lives from birth to slaughterhouse. I present a case study of the iAnimal short film series produced by Animal Equality, which made its public debut at the 2016 Sundance Film Festival. Employing a critical animal studies framework, I engage Kathryn Gillespie’s work on witnessing of the nonhuman condition as a method of academic research, and apply to it the embodied experience of virtual witnessing through virtual realty.

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.

Report from the Sheffield Documentary Film Festival, 2009

Asian Cinema ◽  
2010 ◽  
Vol 21 (1) ◽  
pp. 219-222
Author(s):  
Adam Bingham
Keyword(s):  
Documentary Film ◽  
Film Festival
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