It also makes sense that these filmmakerswould bristle at claims that a filmmakerʼs job is to give"voice to the voiceless,"

These collectives were traininggrounds for politically progressive filmmakers railingcinematically against a cultural hegemony and money-minded Hollywood; and they laid the ideological foundationand professional pipeline for leadership within today'sdocumentary film spaces.

ith cause; it was cinema of mystification or anti-historicism. It was surplus-value cinema.

Suddenly, thedispossessed were the filmmakers, protagonists and theaudience.

encouraged to continue mining other communities forprovocative material.

Several soldiers I interviewedtold me that if a commander won't tolerate the mistreatmentof women, it will not happen, and studies back this up.

morefemale casualties and deaths than in the Korean, Vietnamand first Gulf Wars combined

but on the interaction and communication between the different instruments, the whole ensemble. He spoke of his own musicianship with an astounding humility, as is revealed during one scene in the film, when he is talking to a grown-up Denardo about his playing and says: ‘I’ll tell you the truth, I think you do it much better than I do.’

Then there wouldn’t be any confusion about what’s supposed to happen, and people wouldn’t say they came to hear the music’

It reveals one of Clarke’s ongoing concerns in her filmmaking practice: the construction and performance of masculinity, and specifically, black masculinity, as determined by a white supremacist society.

she bought cameras, monitors and tape decks with which she filled her penthouse apartment at New York’s Chelsea Hotel. T

specific (white) fetishising and objectifying gaze.

Indeed, her aim was to make them all ‘jazzy’ given that the State Department had instructed her that the one subject matter that she could not portray was precisely jazz

She said: ‘[h]aving laid the spine down, which was his music, I edited to the music. That’s where the rhythms and energy came from. The film looks like how Ornette sounds and has the same basic thinking’

nd rather than aim for naturalism in these sequences, Clarke emphasizes their artificiality, with awkward acting on the part of the child actors and the constant acknowledgement of the presence of the camera, as subjects on screen are continuously breaking the fourth wall.

was submitted in 1968

She was actively avoiding the kind of biographical exercise which would focus on these — ‘I wasn’t trying to make a “documentary” of Ornette

praising him and claiming it as evidence of the reality and reach of the American Dream, that is, that, in the mayor’s own words: ‘success is possible for all who take advantage of the opportunities of our country’. This bombastic and misguided rhetoric

The film took on a vitality and coherence it had had all along that the completely silent version eviscerated. The Alloy Orchestra’s music gives tempo to the day that struc-tures the film; it gives vitality to the machinery that awakens and begins to produce the goods that will benefit the people; it organizes an affective response to the film that makes the editing cohere in a way it did not do when the film was simply a visual cascade without any sound track at all.

The Sound of Music

as well as from a critical distance (in the case of his views of wider political events, across the globe)

tories told by citizens are as powerful as what is generally accepted as history.

from

This critical distance is rooted in a process of immersion

only the “docu-ment,” where an image and reality are coupled and integrated, can do justice to the complexity, genesis, and destiny of the event, which by far exceeds the frame of the image

Critical distance is crucial in Ai’s practice

They have never been victims andnever will be, despite their occasional show of tear wiping.

People think that gettingonline and signing a petition is enough. Wereally we have to stand in a group

hese considerations should level thefilmmaker to a peer in civic life and social jus-tice ally as opposed to a film director or individ-ual actor

social media’s privilegingof personal narrative reinforces a central cri-tique of neoliberalism: it separates the individ-ual from a collective or communitarianapproach to social justice

sociotechnical

deconstructing Brazilian gender roles through their performances

The intolerance fuels their ostentatious behavior.

The Brazilian meaning of ‘transgender’ has developed into an umbrella term to embrace a variety of individuals with different gender and sexual identities.

While stereotypes are grounded in social power, it is important to recognize that they also fill a social function

trav-estis have a feminine gender identity and a good acceptance of their biological sex

either transsexuals or travestis.

One striking element is the nicknames they adopt, which are lifted from movies.

Viewers are warned about the cruelty, but it's also stressed that the participants are proud of what they do

ust as he blurred the boundaries between filmmaker and subjects, heblurred fiction and documentary i

Rouch called his method "shared anthropology", in an attempt to renounce the authority of the filmmaker,especially one from outside the culture.

Southern African-Americans that embarrassedforward-thinking urban strivers, who didn't want to be reminded of such things and didn't think it made a goodprogressive image for the white folks.

Region 1 viewers

transgres-sive moments like this disrupt television’s narrative codes, splitting wide open the ‘Ken Burns effect’ of televisual history

using Truganini’s death to suggest the elimination of an entire race.

So today’s Aboriginal community hasn’t lost anything.

Possibly counter-intuitively, the abstraction of the visuals makes the viewer concentratemore on what is being said.

a 'marae approach' to film-making, one that 'hears all thevoices'.5

The manner in which thefilm records the wider stories of all these figures deepens the texture ofcommunal involvement.

For example, Miru recounts how, in1991, he fired shots over some boats in order to scare them away and wassubsequently taken to court. The ways in which the law protects the com-mercial fisherman when Miru threatens them enacts an idea of protectionthat is not accorded to the Indigenous knowledge of the harbour or to theiwi who have traditionally used it.

community

the arrogance to call ahui, e

in his 1990book Our Own Image, a study of the politics of the Indigenous image in NewZealand, that Barclay first outlined his idea that a successful film operates as a hui(communal gathering), a 'gathering on film

to assume that from such a position Barclay is only interested inexacerbating communal tension.

essentializing "minority" texts d

Although Clando has been called Teno's first fiction film, the writer/director refuses the label. "All of my films are documentaries," he says, since for him cinema always addresses contemporary concerns. H

biography of a major figure in Pan-African history is interwoven with the filmmaker's own autobiogra phy as well as a broad-based critique of the demeaning con descension of early visual anthropology

and theory as well as practice is dealt w

tion, I've been scrupulous about never becom- ing a film collector myself. I've found it difficult, sometimes, to politely refuse when Basil has offered me the odd poster or artefact as a

ptions. The loss of screen or sound quality is in effect the loss of information - the equivalent of removin

Ethical behaviour- adherence to prescribed stand- ards of honesty, integrity and professional com- petenc

lm is the synthesis of the arts, its archiving is likewise a synthesis of many disciplines -

available to be understood - and evaluated - by other

- yes and n

t! Can't we leave the theorizing until we've got leisure to worry about it? Does it really matter whether anyone wants to recognize it as a profession or

ers. There was no formal base of theory which served to define the profession, its principles and worldv

agues have ex- pressed to me surprise, even

But the fact is that it's a semantic accident. There's no ready-made word, universally under- stood, to describe institutions which preserve mov- ing images and sound recordings - or the people that work therein. Archive is simply one of the words appropriated, from the 1930s on, to do that job, maybe because of its popular meaning as a plac

These included the New Objectivity movement in Germany, the surreal- ist and abstract film experiments in France, as well as the Vertovian promotion of film as 'an explorer of living facts' in Soviet Russ

s united by the common aspiration that cinema could be enlisted to change the world in part due to its propensity for 'archiving' everyday

ve. Third, we need to remember that Brunhes' audience at the College de France was open to the public and not limited to students or profess

on. They were reserved for viewing by a cultural and intellectual elite

, they record France's shifting identity under the forces of modernity as urbanisation and industrialisation competed with the traditional,

The Archives de la Planete was thus not retroactive but anticipatory, a voluntary rather than involuntary film archiv

dium the 'franco-megalomaniacal deliri

could be seen as an unconscious version of the simultaneously developing 'city sym- phony' film genre as it evolved in Walter

[I]t is preferable that the indications I gave Monsieur Passet were meant to serve as inspi- ration; in my mind they were of the order of general advice, intended to help us coordinate travellers in different parts of the world into a common enterprise, but it goes without saying that this advice wasn't intended as a sort of restrictive law. Monsieur Passet must always have an open eye and take everything that seems of interest to him; the more he displays a considered initiative, the more we will be happy with his services.

However, it is still somewhat dangerous to overestimate the influence of Kahn. For it is clear that, at least according to commercial standards, the cameramen were given an uncharacteristic amount of freedom to shoot what they thought was imp

Kahn suggested newsworthy and other events that the cameramen should film.4

t Kahn rejected Brunhes' proposal for hiring scientific specialists to be in charge of each mission and decided to leave the overall organisation of the trips and classification of the documents (especially the autochromes) up to Brunhe

The third crucial factor shaping the Archive was that Kahn decided to employ a team of his own independent cameramen instead of pursuing other options, such as contracting out the technical and filming side of the archive to Gaumont.4

. This latter feature mandated that the pho- tographic archive would have to be content with immobile and posed human subjects or env

stereoscopic photography was abandoned (perhaps because of that medium's as- sociation with entertainment) in favour of basing the photographic collection on autochromes, one of the first colour photographic processes perfected and put on the market by the Lumiere brothers i

g Kahn's goal of presenting the world of facts in an 'incorruptible' medi

s. All of his enterprises aimed to tap the utopian promise of modern technologies' ability to enlighten and lead humanity into a more rational, organised and just fut

Between 1917 and 1931 fourteen sepa- rate ongoing bulletins were printed and distributed for free to an elite international constituency includ- ing ministers and various heads of stat

One reason that the Archives de la Planete had eluded contemporary press coverage may have to do with the fierce anonymity and low profile main- tained by Kahn throughout his li

, making it one of the most unique collections of unedited non-fiction film

ory has put to rest the tired notion that documentary film was brought to life in three stages following its concep

the visual documents in the Archive resonated with various utopian, elitist and vernacular ideals which were also an essential part of contemporary avant-garde and future documentary movements within and beyond France

, failed to realise its primary utopian goal - 'the preservation of peace and the furtherance of mutual understanding' between nations.4 In other words, the films were never substantially discussed because never viewed by enough people to fulfil their universalist mission.

, a unique collection of unedited non-fiction films of everyday life shot around the world between 1908 and 193