Tuesday, May 05, 2015

Conferences Summer 2015 edition

Here is my current list of English-language conferences of interest to those in film studies (and some for TV and media studies). Upcoming conferences are listed in order by date or, for open calls, by abstract due date. Please let me know if I should add anything.  I will update this post throughout the summer.

Closed calls:
ICA - San Juan, Puerto Rico, May 21-25, 2014 [website ]
Console-ing Passions - Dublin, Ireland, June 18-20, 2015 [website]
The Annual Conference of the Film Studies Association of Canada - June 2-4, 2015 Theme: “Capital Ideas” [website]
Society for Cognitive Studies of the Moving Images (SCSMI) Jun 17-20, 2015, Birkbeck, University of London [website]
NECS - Łódź, Poland, June 18-20, 2015 Theme: "Archives of/for the Future" [website]
Screen - Univ of Glasgow, June 26-28, 2015 Theme: "Screening Animals and the Inhuman" [website]
Visible Evidence XXII - Toronto, Aug 19-23, 2015 [website]
UFVA - American University, Washington, DC, Aug 4-8, 2015 [website]
Screenwriting Research Network Conference - London, Sept 10-12, 2015 [website]
The Resnais Archipelago conference - Duke University, October 29-31, 2015 [website]
MLA - Austin, Texas, Jan 7-10, 2016

Current calls:
Due date: May 17, 2015 European Cinema, Intercultural Meetings: Aesthetics, Politics, Industry, History (ECREA) - Copenhagen, November 13-14, 2015 [call]
Due date: June 1, 2015  Film and History Conference - Madison, Wisconsin, November 4-8, 2015 [website and call]
Due date: June 14, 2015 World Picture Conference - Toronto, November 13-14, 2015 [website and call]
Due date: August 28, 2015 SCMS - Atlanta, Mar 30-Apr 3, 2016 [website]

Upcoming calls:
NECS - Potsdam, Germany, June, 2016
Visible Evidence XXIII - Bozeman, Montana, Aug 11-14, 2016

Friday, May 01, 2015

Mallwalkers


Mallwalkers
dir. Sean Clark, 2014, US
Genre: Observational Short
Not currently in distribution

Mallwalkers has a straightforward topic: the (mostly) older Minnesotans who powerwalk though the Mall of America in the morning. The film intercuts between four sets of "characters," and perhaps inevitably walks the line between ironizing humor and humanizing portrait. There's such a palpable sense that the documentary imagines an audience who is socially distant from the Midwestern subjects, but Mallwalkers does not overly exploit.this dynamic. It's poised to be a festival audience hit while also functioning as a small-scale observational piece.


The counterpoint would be the opening and closing shots, whose carefully composed view of the mall spaces contrasts with the moving and following camera of the observational footage.

Thursday, April 30, 2015

The Second Game

The Second Game
dir. Corneliu Porumboiu, 2014, Romania
genre: experimental documentary
French-release DVD (French subtitles only) available from amazon.fr

To me, one of the more exciting trends lately has been the convergence of the documentary world with experimental approaches that could be considered akin to structural filmmaking. I don't know if Porumboiu is explicitly influenced by or in dialogue with structural film. Maybe something about the slow cinema project of the Romanian New Wave arrives at similar ends from another route. But The Second Game would suggest that something beyond simply durational art cinema but rather a spectatorial experience of being distanciated from the very basics of the medium, the very split between sound and image. 

The concept is simple enough: a 1988 soccer match refereed by Porumboiu's father between two of the major football clubs (Dinamo and Steaua) plays without original commentary while the Porumboius, father and son, discuss the match. It's not a tidy commentary on the Communist era or the politics of the revolution that would follow, but the now-and-then conceit does underline the stakes of historical knowledge and historical passing. Films from the vantage of post-Communist public spheres have the challenge of critique the pre-1989 regimes while understanding that daily life under Communism was a complex affair, not entirely reducible to the great historical picture the West in particular has of the era. Soccer does not neatly allegorize the Ceausescu era but it does pose the problem of citizen ethics to the present. The Second Game thereby manages to use soccer/football as an occasion for political and historical issues, but it also examines the game on its own terms.


Aesthetically, The Second Game brackets television within cinema and asks the spectator to read both the aesthetics of TV and the politics of state-controlled broadcasting. Much of the affect of the film lies in its desaturated and degraded video images.

All the while, the film is a durational exercise - an ultimate one-scene film. At one point the filmmaker makes a wry commentary about his fiction-film style, in which "nothing happens." As he puts it in the director's statement: "If you were to ask which football game says the most about everything, I would tell you it is the one which is most banal." If Soul Food Stories shows the instance of a log line overpromising for a film, The Second Game shows the difficulty of creating a log line for an experimental doc that defies an easy summary or "hook." Think of it as an art-doc version of Harvard Beats Yale 29-29.

Saturday, April 25, 2015

Tourisme International


Tourisme International
dir. Marie Voignier, 2014, France
genre: experimental documentary
available streamed at Doc Alliance (free through May3)

Tourisme Internationale is a fascinating experiment in documentary sound. Other precedents like Loznitsa's and Ujica's work have used foleyed sound to give a sense of presentness to archival footage. Voignier instead takes present-day footage--of an international tourist visit to North Korea--and removes almost all spoken word in favor of foleyed sound effects and ambient sounds. The effect is an uncanny play on presence and absence, on documentation and the fantastic. 

One clear role of the move is as a power play between a government which wishes to control images and a filmmaker who refuses to allow the government's version to stand. By putting the voices under erasure, Tourisme Internationale obliquely gets at a portrait of contemporary North Korea that it otherwise cannot access. In the process, too, it figures the missing voices of the populace. (The tour guides are all well-connected elites.) Most of all, it's a film in which the concepts are experiences as much as intellectualized.

The one instance of spoken word allowed in the film is the dubbing of a North Korean fiction film. The film takes a wonderful turn of meta-reflection on cinema, sound, and the role of classical cinema language in our understanding of the medium. The putative propaganda of state-sponsored media gets a "real" presence in the film that the putatively more real tours of cities do not.

Thursday, April 23, 2015

Soul Food Stories



Soul Food Stories
dir. Tonislav Hristov, 2013, Bulgaria / Finland
genre: observational
not currently in distribution

I don't know how often a film's log line gives a bait-and-switch for a film, but I have to say that Soul Food Stories was not exactly the film the description set me up for:
“Soul Food Stories” is a 70 minutes long observational documentary that tells of a place where practices of food and the rituals around the table have not been changed in the last centuries. The film consist of a series of vignettes, each one telling different story. The protagonists Djamal and his wife Aishe are Pomacs (a Slavic Muslim population native to some parts of Bulgaria). Their parents and grand parents have been always living from the land. They produce everything - from the cigarettes they smoke and the clothes they are wearing to the milk and cheese on the table. During the Communist regime, Djamal and Aishe had to change their names, the way they dress and speak as part of the state-supported assimilation campaign in 1989. Djamal and Aishe’s children represent another part of the story – they immigrated to the USA in a search for better life and more opportunities and thus they lost connection with their nuclear family and their traditions – part of which is the food. “Soul Food Stories” seeks to explore not only why the food bring us together, but the many ways it could enrich our lives. At the same time it touches upon themes such as religion, the past and the reconciliation with it, the family and the kids, etc. Or as the director Tonislav Hristov puts it - “Soul Food isn’t a film about the food itself. Soul food is the ritual of getting together around the table when each one of your friends brings his own spice in the sense of experiencing each other."
The main issues are there, and the main thematic use of food preparation, too. However, rather than the redemptive narrative of "food overcomes social divisions," the film has a more open tapestry of the social conflicts of rural Bulgaria. The villagers represent certain aspects of social divides marking contemporary Bulgaria: women/men, Orthodox/Muslim/Roma-Evangelical, Communist/reformist, older/younger, and while the people do voice a sense of shared community never do they put aside differences. (It is hard to tell how much of the discussion is provoked by director Hristov, but especially in this case I'm not sure that makes much difference.)


What I find refreshing is that the documentary tackles two motifs common to recent documentaries - the waning of pre-industrial agricultural parts of Europe and the economic challenges facing depopulated rural villages. But something about the observational approach gives a new spin on these: rather than static shots of empty spaces or rural tranquility, Soul Food Stories offers instead a group of Finnish tourists and village spaces that are lively, if aged.


The documentary does show the impact of poetic style on observational film, as in the long take of the funeral, done with locked down camera.

Thursday, April 16, 2015

Hand Gestures

(photo courtesy the filmmaker's Twitter)

Il Gesto delle mani/ Hand Gestures
dir. Francesco Clerici, 2015, Italy
genre: poetic/observational
not currently in distribution

I do wonder if there is a documentary equivalent of the heritage film, dedicated to celebrating national aesthetic and historical traditions. Hand Gestures would probably fit the bill and is in fact produced by a century-old firm specializing in bronze sculpture, the Battaglia Artistic Foundry. On a literal level, the film could be seen as an advertisement of sorts for the Foundry and for Velasco Vitali's sculptures. But it easily transcends this as a creative documentary with both formal rigor and a clear aesthetic eye for the process of art creation.

There has been a recent cycle of documentaries about artisanal crafts, but what immediately strikes me about Hand Gestures is the adoption of certain aspects of the poetic-doc form rather than a more familiar character-driven format. It's not a slavish fit with the genre, as the film uses a faster montage,  for instance, but the lack of voiceover narration and minimal spoken word pushes the spectator to experience the pace and subtextual narrative of the sculpture process. Not only does Hand Gestures excite me to be studying contemporary documentary but it also inspires me to write about it.


The use of archival footage is both entirely legible in its historicity (unlike many "craft" documentaries, Hand Gestures suggests continuity between now and then) and related to experimental activation of archival footage in the work of Forgacs, Loznitsa, Ujica, etc. Most of all, it provides a lyrical structuring device for the documentary.


Hand Gestures is currently on the festival circuit, having won a critics prize at Berlin Film Festival. Here's hoping this film gets a broader theatrical or video distribution stateside.

Thursday, April 09, 2015

Sweetgrass


Sweetgrass
dir. Lucien Castaing-Taylor, Ilisa Barbash, 2009, US
available on DVD or via iTunes

My list of shame is long, and I am a late comer to the entire Sensory Ethnography Lab work, and I have to admit some trepidation approaching Sweetgrass. After all, I have had a tendency to be underwhelmed by some of the critical favorites in recent documentary (Stories We Tell, Act of Killing, and others). Yet, I was blown away by the film, I believe because it confounded my expectations in two ways: it did not fully fit the mold of the contemporary poetic documentary, nor did it exactly play the role of slow cinema in the way I thought it might. 

The key to both is that Sweetgrass does not restrict itself to static long takes shot at a wide distance. Indeed, those shots are there, but camera movements (handheld and controlled) and close shots balance the shooting style. My understanding of Sensory Ethnography is that it balances the objective poetic-observational shots with strategies that suggest the phenomenological aspect of its subject. Watching the film, it also occurred to me that Sweetgrass fits what David Bordwell calls parametric narration, in which the stylistic system of the film develops (partly) independently of the meaning structure. This is an idea I'll have to reflect on and develop.

I was also surprised how much a traditional Griersonian spirit lay at the heart of the film. Not exactly an issue film but a objectifying eye to how ranching is declining in the contemporary American economy and Western environment. It's a theme not spelled out in detail or hit over the head, but it does sustain the film, through its portrait of the shepherds to the final titles.


Probably my experience of the film was colored by seeing it in 35mm - a transfer from video and a sonic remix from low-quality recording, apparently, but still, quite gorgeous. The low-light videography in particular is amazing, with images at times barely registering but somehow still affective. 


I definitely look forward to watching more Sensory Ethnography work.

Tuesday, April 07, 2015

Classical Cinema SIG for SCMS?

On Twitter, I tossed out a quick idea that maybe it's time for there to be a Scholarly Interest Group (SIG) for SCMS geared toward those of us who work on classical cinema. There is a good reasons there hasn't been one up until now: SIGs have emerged to champion emerging research areas or those historically overlooked in the fields of US- and Canadian-based cinema and media studies. Classical Hollywood in particular was the canonical and culturally dominant hegemon at the center of film studies stretching back through the history of the Society, going to the SCS days. Why carve out a interest group niche for something that was already established and widespread?

I think there are two reasons it's time to do just that. First, it's hard for me not to see SIGs gaining in importance in SCMS. There's currently not anything like the divisions at the MLA Convention, neatly organized along clear subdisciplinary lines. Maybe they'll never have that rigidity or clarity. But the conference's and society's continued growth means that there's going to be increasing pressure for sub-division, and the SIGs and Caucuses are a logical mechanism to manage this pressure. If these do become more important, than SIGs no longer need to be limited by the emerging or "minority" approaches in the discipline, but even heretofore dominant approaches may find a need for organizational representation.

Second, classical cinema studies is not as dominant as it used to be. There are still a good number of papers on classical Hollywood at the conference, but not as many as there used to be. Papers on the studio periods of other national cinemas are much sparser. I wouldn't want to put forth the case for a SIG as a rearguard action to preserve the status quo of a canon - it's great that both contemporary cinema and alternative practices are getting more of their due. But a SIG can provide a form and cohesion to what now feels scattershot. SIGs provide community and help for a collective agenda setting and in the process raise the profile for excellent work that is already being done.

These goals seem particularly vital because classical cinema studies is actually a dynamic area now, hardly dead despite the sense of many in the field that the area is too well charted and everything has already been said. Not to make an exhaustive list, I would point to a few trends worth highlighting:

  • The availability of films (via video, cable TV, etc) has radically transformed our understanding of the period, both popularly and academically.
  • An generational difference from the period compared to the flurry of scholarship in the 1970s and 80s means that scholars have a different relation to the period and are asking different questions. 
  • Scholarship has increasingly reappraised the criticism contemporary to the films themeselves, opening up a dynamic account of the history of writing on film. The scholars of "useful cinema" have impacted how we see even the history of entertainment cinema.
  • Work in other areas, such as transitional cinema, have challenged and refined canonical accounts of classical cinema. Incidentally, this is one reason I think limiting the purview to "classical Hollywood" would be a mistake.
  • There is sometimes a sense of stalled impasse after the theory/history debates of the 1990s, but I see an opportunity. Classical cinema is one key area in which scholars often work across these disciplinary traditions and combine them in innovative ways.

For these reasons and more, I would love to see a Classical Cinema SIG. I honestly don't know how much groundswell of support the idea would have, but it's worth putting the idea out there.

Monday, April 06, 2015

SCMS2015 Reflections

It's remarkable to go back and read my posts after previous SCMS conferences because some things are still the same for me, and others have changed. This year, I embraced the conference as specialized tracks rather than attempt a generalist sampling. In all, I felt much happier doing this, though I am sure I missed terrific papers that way.

Terrific online schedules. I used the Guidebook app and loved it. The Sched website version is also great. I appreciate the work of the conference organizers in providing these and getting them out in advance.

Conference is too long. I've said this before, but it bears repeating. The conference is too long. Yes, I know people can go for only part of the time, but that's actually a problem. Gone is the sense of a shared conference experience. In a 2 day conference I end up seeing more papers than in a 5 day. This is because SCMS is about more than papers, certainly, but it's also because the exhausting schedule is not as conducive to the presentation and exchange of ideas as smaller conferences.

Scheduling is too tight. Expecting 4 papers and a robust Q and A to fit into 1h45m is not realistic in most cases. My panel experienced technical difficulties that ate into presentation and question time, but beyond my experience I can say that the only active Q and A sessions I saw were for panels of 3 presenters. Which I gather SCMS discourages.

We need lunch. The conference length or overall schedule has some major constraints, but if I could change one thing, it would be to add a proper lunch break each day and prioritize common breaks in the scheduling.

Conference hotels are getting better. At least in terms of conference room size and facilities, common meeting areas. The breakfast at the Fairmont was a nice addition to the conference experience.

SIGs are growing but still underutilized. I do think that Caucuses and SIGs provide the best way forward of achieving a manageable scale within an unwieldy conference. But they still do not involve a majority of the membership or anything approaching.

Weirdly enough, each time I attend the conference I find it an ungainly conference with problems, but I always enjoy it and value the experience. I do look forward to Atlanta.

Tuesday, March 24, 2015

SMCS 2015

I'm heading to Montreal tomorrow for the SCMS conference. As always, I look forward to a rewarding time catching up with colleagues and getting (however partially) about the best snapshot of the field I could imagine. 

I will be contributing to the SCMS general conference twitter feed. The idea this year it to have a feed less about live-tweeting panels and more about general observations. 

My panel will be at Saturday, at 1:00pm. I'm excited to be in great company.

Film Festivals and the ‘Creative Turn’ in Documentary

Aida Vallejo (University of the Basque Country) 
“A Niche for Creativity: Defining Documentary in the Festival Circuit”
Ezra Winton (Nova Scotia College of Art and Design)
“Documentary, Film Festivals, and Distribution of the Sensible”
Maria-Paz Peirano (University of Kent)
“Expanding Boundaries: Film Festivals and the Emergence of ‘Creative’ Documentary Filmmaking in Chile”
Chris Cagle (Temple University)
“Character as Aesthetic Problem in the Festival Documentary”

Hope to see many of you there.

Thursday, March 19, 2015

Workingman's Death


Workingman's Death
dir. Michael Glawogger, 2005, Austria
available on DVD or via iTunes

This film is now a decade old and therefore less contemporary than others I am watching for this project. But it's been on my list of shame for a while and moreover, I feel it's worth adding some films more readily accessible from time to time. 

Glawogger was, before his untimely death, a prominent documentary auteur and very influential for a vein of poetic documentary popular today, at least on the festival circuit. Workingman's Death resists the kind of documentary meaning we might expect out of the difficult, challenging subject matter we see. Critic Michael Atkinson writes, "Glawogger's film may be thematically loose-jointed, but Wolfgang Thaler's cinematography is the glue." However, the film does have thematic resonances, even if the spectator has to do much of the work for them. And, thematically, too, the refusal of certain explanation is itself meaningful; Glawogger seems to suggest that globalization is important for understanding labor but does not explain everything about it, either as economic fact or human condition. 

Setting aside the big picture, though, I'd like to focus on Atkinson's second assertion, which I do agree with. Take three consecutive shots in the opening Ukraine mining sequence. The first is static but not a posed shot, the second is a reactive pan as a miner appears above the hilltop, the last is a presentational pose setting up an ironic juxtaposition with a Leninist statue.




Whereas the last kind of shot is now common, even cliché, in documentary today, the first two show a real ability to balance compositions that are unusual yet harmonious without distracting from the subject. This is true, also in interviews and interior observation shots:


Looking back from the vantage of ten years now, what's striking about Workingman's Death is not only how influential Glawogger's approach is to poetic documentary but also how it doesn't fully live up to my expectations of what an aestheticized poetic doc would look like.

For instance, even the character-driven issue film Where Heaven Meets Hell (Sasha Friedlander, 2012) films the sulphur mines of Kawah Ijen with more striking beauty, both in composition and color. Some of this may reflect the developments of digital cameras and color correcting software, as well as filmmaker/audience expectations of how either can lend production values to documentary. But that's a larger story.

Monday, March 16, 2015

Autofocus (2013)



Autofocus
dir. Boris Poljak, 2013, Croatia
genre: observational short
not currently in distribution

Autofocus is an observational documentary but with more of a candid-camera approach. Rather than having close interaction between camera and social actor, director Poljak places fixed cameras on a landmark church (St. Nicholas at Nin) and records the tourists who come to visit the sight. The tight framing and distanciation are somewhat reminiscent of Scott Stark's Posers, but rather than comment ironically on its subjects, Autofocus gives a humanizing portrait of the various anonymous visitors.

One of my ongoing polemics is that documentary critics and especially scholars misread what observational cinema does because they filter the genre through the realism debates of post-1970s film theory. This polemic will take more work to flesh out, but for now I'll point out one way contemporary observational cinema can play with narration. There's a kind of question-answer game, wherein the film will introduce an ambiguous shot that is explained by the following shot. In this case, tourists, a father and son, do strange poses that initially do not make much sense. Only in the next shot does the film reveal the mother down the hill, taking photographs. With the telephoto, we are lacking the proper angle for framing but can retroactively read the poses against the church backdrop.

This is not an earth-shattering strategy, but it is one shared with more poetic docs (Abendland comes to mind) and suggests how observational doc is not reducible to naive realism.

Friday, March 13, 2015

MLA 2016 calls for papers

The 2016 MLA Convention will take place in Austin, Texas, January 7 to 10. The deadline for submitting through pre-constituted panels is coming up, as soon as this weekend, so I wanted to highlight a number that might be of interest to film studies scholars. In culling this list I have overlooked a lot: many panels are open to both literature and film as objects of studies and other touch on new media studies. The panels below have a majority focus on film.

Due dates are March 15, unless otherwise noted.

  • 1968 in Global Cinema [call]
  • Adaptation in World Cinema [call]
  • Austin Plays Itself [call]
  • Cinema and Cultural Memory [call]
  • Cinema and Public Spheres in Franco's Spain [call] (Mar. 18)
  • Francophone Media/na/tions [call]
  • The Ideological Space(s) of Italian Cinema and Television [call] (Mar. 20)
  • Latin American Film and Nation in the 21st Century [call]
  • Out of the Past: An Examination of Jewish Characters in Contemporary Romanian Cinema [call]
  • Trauma in Recent Cinema [call]
  • Women and Recent Francophone/Anglophone African Cinemas [call]

Anyone can propose a paper, but one must be a MLA member to present at the convention. [FAQs]

Monday, March 09, 2015

Contemporary Documentary Project: Beep


Beep
Kim Kyung-man, 2014, South Korea
genre: experimental documentary
not in general distribution

Beep is a short experimental documentary; actually, I would probably classify it as an essay film. Beep compiles South Korean anti-communist government films from the 1960s and 70s and adds a found soundtrack of a nonfiction account of a boy martyr who purportedly because he resisted North Korean soldiers. It's easy to use such material ironically, as fodder for camp, but I am impressed by how Beep is purposive with its historical material. Rather than using the found footage to signal an "then" to contrast with "now," it wants to trace a lineage of South Korean jingoism and propaganda that, I believe the film to imply, never fully went away. I'm not always a fan of Foucauldian genealogy, but this is genealogy in the best sense.



Thursday, March 05, 2015

Actress (2014)



Actress
dir. Robert Greene, 2014, USA
genre: self-reflexive portrait documentary
available on iTunes or via Cinema Guild on-demand 
(DVD release presumably forthcoming)

I saw Actress only after reading director Robert Greene's manifesto about the "renaissance in documentary culture" which has seen "collapsing walls between fiction, nonfiction and art cinema." After his pronouncements and the many critical accolades (Bilge Ebiri calls it one of the best documentaries he's ever seen), I have to say I came to the film with higher expectations. Yes, I noticed the self-reflexive commentary on documentary performance in this portrait of Wire actress Brandy Burre; Burre is indeed a remarkably self-confident and camera-aware documentary subject. The value of Actress is that asks the spectator to evaluate the effect of this kind of self-consciousness on documentary, pitched somewhere between dramaturgy and Erving Goffman's performance-of-self. The tight framing of the climactic interviews additionally makes the emotion feel self-consicous. What I did not get an ontological unsettling of what documentary and fiction do (from Ebiri: "the entire film is dancing on this knife’s edge of real and make-believe"), or a sense of revolutionary documentary form. Other portrait docs create a "melodrama" out of real stories and problems, and others have moments of self-reflexivity. Perhaps that's just a matter of raised expectations or even of seeing on video rather than theatrically. Actress is a good documentary but not nearly one of the best I've ever seen.

One thing I did really appreciate in the film is Greene's eye both in filming and editing. There is one scene in which Burre's ex-partner, Tim, removes holiday lights after a Christmas party. It is a simple series of shots, but so simply captures the emotional tenor of their relationship through visual means. And while the slow-motion shots felt like filler to me, there are other, equally lovely video shots of the town and the landscape which give an emotional punctuation to Burre's story. As for the film's pace and structure, there is a wonderful sense of conflict that develops out of the mundanity of Burre's daily life. Greene does a good job of capturing just a sense of tedium which forms the status quo of the film's exposition, and it makes the identity and relationship crisis of the second half of the film that much more pronounced.

Finally, I valued in Actress what I might value in any character-driven documentary: the way Burre's story touches on bigger issues of work-life balance, of women's self-identity in a patriarchal culture, and of the sexism of theatrical and television casting. To take the issue of age-bound casting, this is something we all might have a knowledge of, but Actress shows the human toll on the women actors whose livelihood is made more difficult than men's.