Thursday 25 August / Jeudi 25 août

8:15 - 9:00 (Hall Building, H-110, 1455 boulevard de Maisonneuve Ouest)
Registration and Coffee / Inscription et café

9:00 - 10:40 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(25.A) Listen Up! The Sound of Documentary / Écoutez bien! Le son des documentaries
Chairs / Présidents: Derek Paget (University of Reading) and Chuck Kleinhans (Northwestern University)
Chuck Kleinhans (Northwestern University) Audio Documentary: A Polemical Introduction for the Visual Studies Crowd
Steve Lipkin (Western Michigan University) Sounding Out the Right: Clarence Thomas, Anita Hill, and Constructing Spin in the Name of Justice
Derek Paget (University of Reading), Jane Roscoe (Australian Film, Television and Radio School) Why Just Talk When You Could Sing? Performing the Real in Musical Documentaries (with Jane Roscoe)

BREAK / PAUSE

10:55 - 12:25 (Cinéma de Sève, 1400 blvd de Maisonneuve Ouest)
(25.B1) Talking Heads and Their Discursive Contexts / Les ‘Talking Heads’ et leurs contextes discursifs
Chair / Président: Roger Hallas (Syracuse University)
Roger Hallas (Syracuse University) Testimonial Databases
Michael Baker (McGill University) Actors Performing, People Speaking, and Panels Discussing: The Emergence of the Talking Head in the Documentary Films of the NFB
Elizabeth Cowie (University of Kent) More Than Words Can Say: Between the Saying and the Said in the Close-Up on the Speaking Subject
Jonathan Kahana (Bryn Mawr College) On Parole: The Interview and Prison

10:55 - 12:25 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(25.B2) Origines et caractéristiques d’un cinéma oral au Québec. Origins and Features of an Oral Cinema in Quebec
Chair / Président: Germain Lacasse (Université de Montréal)
Germain Lacasse (Université de Montréal) L’audible evidence du cinéma oral
Vincent Bouchard (Université de Montréal / Université Sorbonne Nouvelle-Paris III) Nouvelles formes de commentaire et cinéma oral québécois
Gwenn Scheppler (Université de Montréal / Université Lumière-Lyon II) Les bonimenteurs de l’Office National du Film

10:55 - 12:25 (H-420, 1455 boulevard de Maisonneuve Ouest)
(25.B3) Makers on Work. Les artisans au travail
Chair / Présidente: Katerina Cizek (Filmmaker)
Amit Breuer (Amythos Films - Toronto) Conflicts in Documenting a Conflict: Centered Around My Film Checkpoint
Heidi J. Boisvert (City university of New York) Para Que Escarmienten (So That They Learn) - One-Act Multimedia Play
Kate Richards (Filmmaker, Australia) Life After Wartime – a Suite of Multimedia Artworks that Respond to and Interrogate a Database of Archival Crime Scene Images, Texts and Audio
Kim Sawchuk (Concordia University) Participant Blogservation?: New Media Research, Social Class and the Salvation Works Project

10:55 - 12:25 (H-431, 1455 boulevard de Maisonneuve Ouest)
(25.B4) Archival Strategies. Stratégies d’archivage
Chair / Présidente: Oksana Dykyj (Concordia University)
Orit Halpern (Harvard University) Memories for the Future: Documentary, Memory, and the Archive in the Video Essay
Erica Levin (University of California, Berkeley) Arrests in the Archive: Yervant Gianikian and Angela Ricci-Lucchi’s Prisoners of War
Elizabeth VanArragon (University of Iowa) The Photo League and the Anti-Archive: Documentary as Observation, Documentary as Resistance
Martin Roberts (The New School, New York) Imagining the World at Expo ‘67
Katherine Rogers-Carpenter (University of Kentucky) Annie Mae Gudger’s Legacy: Revising Agee and Evans in the 1980s

10:55 - 12:25 (H-433, 1455 boulevard de Maisonneuve Ouest)
(25.B5) Memory / History. Mémoire / Histoire
Chair / Président: Michael Renov (University of Southern California)
Marlene Monteiro (University of London) The Materiality of Memory
Madhumita Lahiri (Duke University) Image and Memory: Cinematic Representation and the Japanese American Internment
Margaret M. O’Neill (Northwestern University, Evanston) Film aesthetics and the witness to Bloody Sunday
Jillian Smith, Sam Kimball, and Tim Donovan (University of North Florida) What Remains to Be Seen: Mourning the Future in The Fog of War

LUNCH / PAUSE-REPAS

13:45 - 15:25 (Cinéma de Sève, 1400 blvd de Maisonneuve Ouest)
(25.C1) The Expanded Celluloid Classroom: Functional Film in American Visual Education. Le celluloïd dans les salles de cours: Les films fonctionnels dans l’éducation visuelle américaine
Chair / Président: Charles Acland (Concordia University)
Charles Acland (Concordia University) Classrooms, Clubs and Community Circuits: Reconstructing Cultural Authority and the Film Council Movement, 1946-1957
Haidee Wasson (Concordia University) Foundations of American Film Culture: Documentary, Philanthropies, and MOMA, 1935-46
Ronald Greene (University of Minnesota)Selling Reputation: The Economic and Cultural Value of the YMCA’s Film Business, 1946-1949
Dan Leopard (University of Southern California) Pedagogical Agents and the Military-Entertainment Complex

13:45 - 15:25 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(25.C2) Historical Dimensions/ Dimensions historiques
Chair / Président: Seth Feldman (York University)
Jeffrey Ruoff (Dartmouth College) The Filmic Fourth Dimension: Cinema as Audiovisual Vehicle
Fernão P. Ramos (Université de Campinas, São Paulo) Évolution et historicité de la dimension éthique dans le documentaire du XXème siècle
Neepa Majumdar (University of Pittsburgh) Film Fragments, Documentary History, and Colonial Indian Cinema
Jennifer Gauthie (Randolph-Macon Woman’s College, Virginia) Screening the Past: Reviving Cultural Identity in Pour la suite du monde and Atanarjuat

13:45 - 15:25 (H-420)
(25.C3) Talking Heads and Their Bodies / Les ‘Talking Heads’ et leurs corps
Chair / Présidente: Amy Shore (SUNY Oswego)
Amy Shore (SUNY Oswego) Scripted, Sculpted and Encrypted: Osama bin Laden’s Body “Speaks” Terror
Irina Leimbacher (University of California, Berkeley) Talking Heads, Severed Bodies
Mary Strunk (Syracuse University) Toxic Exposures: Judith Helfand’s A Healthy Baby Girl and Blue Vinyl
Ger Zielinski (McGill University) Giving Face: On Faciality and Public Intimacy in Caouette’s Tarnation

13:45 - 15:25 (H-431, 1455 boulevard de Maisonneuve Ouest)
(25.C4) Aboriginal Mediations. Médiations aborigines
Chair / Présidente: Lorna Roth (Concordia University)
Hart Cohen (University of Western Sydney) Sight Unseen: The “Invisible Evidence” of the Strehlow Film Collection
Trish FitzSimons (Griffith University, Brisbane) When Heads Cannot Talk – Archival Photographs, the Voice of Historical Documentary and the Politics of (Indigenous) Representation: A Case Study
Joanna Hearne (University of Missouri-Columbia) “Indian Dramas” and the Documentary Impulse: Realism, Pathos, and Reform
Karoline Truchon (Concordia University) Photography as an agent of intercultural expression, social mobilization and production

13:45 - 15:25 (H-433, 1455 boulevard de Maisonneuve Ouest)
(25.C5) Conflict(s) in Question. Le(s) conflit(s) en question
Chair / Présidente: Elizabeth Saccà (Dean, School of Graduate Studies, Concordia University)
Debra Pentecost (University of British Columbia) Bearing Witness: Powers and limits of war photojournalism
Poonam Arora (University of Michigan-Dearborn) War and Peace / Poet and Critic / Art and Didacticism: Do We Dare Divorce These Couplings?
Charles Tryon (Catholic University of America)War and the Everyday: Documentary and Representations of the Iraq War

BREAK / PAUSE

15:40 - 17:20 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(25.D) Colonialism / Post-Colonialism in New Arab Film and Media. Colonialisme / Post-colonialisme au sein des nouveaux films et médias arabes
Chair / Président: Malek Khouri (University of Calgary)
Hassan Husseini (Carleton University) Aljazeera, Counter-Hegemony and Neo-Colonialism
Malek Khouri (University of Calgary)Memory, Modernity and Reconstructing Identity: Re-incorporating the ‘Jewish’ into Arab National Identity in Forget Baghdad
Laura U. Marks (Simon Fraser University) Arab Virtuality in the Work of Mohamad Soueid
Tess Takahashi (Brown University) Walid Ra’ad and The Atlas Group: History and the Photographic Record

17:30 - 19:45 (Reggies, Mezzanine, 1455 boulevard de Maisonneuve Ouest)
Closing reception / Réception de clôture

20:00 (Cinéma de Sève, 1400 boulevard de Maisonneuve Ouest)
(25.E) Showcase: Rencontres Internationales du Documentaire de Montréal (RIDM) Recent Québécois & Canadian Documentaries / Documentaires québécois et canadiens récents Présentés par / Presented by Bernard Boulad (directeur de la programmation / RIDM)

Hardwood (Hubert Davis, Canada, 29 min., s-t. fran., 2004)
Nominated for the Oscars, Hardwood is a personal journey by director Hubert Davis, the son of former Harlem Globetrotter Mel Davis. Now a coach for young basketball players in Vancouver, Mel talks about his first love, basketball and his life growing up as the son of a single mother in the inner city of Chicago. He recalls falling in love with Hubert’s mother, a White woman, at a time when racism made it impossible for them to marry, his subsequent marriage of convenience to a Black woman, and the birth of their son, Hubert’s half-brother. Both women in Mel’s life speak movingly about love and betrayal, and both sons speak of the pain of their absent father and its effect on their mothers. Hubert Davis blends together interviews, archival footage and home movies, elegantly structuring the film into three chapters: “love,” “recollection,” and “redemption.” He delves into his father’s past in the hope of finding a new direction for his own life.

Mis en nomination aux Oscars, Hardwood suit le parcours intime du réalisateur Hubert Davis, fils de l’ancien Harlem Globetrotter Mel Davis, dans sa quête pour comprendre comment les décisions de son père ont influencé sa vie. Devenu entraîneur de basket à Vancouver, Mel parle de son premier amour (le basket), de sa mère célibataire et de sa vie dans les quartiers défavorisés de Chicago. Il raconte son coup de foudre pour la mère d’Hubert, blanche, à une époque où le racisme empêche leur union, puis son mariage de raison avec une Noire, suivi de la naissance de son deuxième fils. Les deux mères offrent des témoignages émouvants sur l’amour et la trahison, tandis que les deux fils confient leur douleur causée par l’absence de leur père. Hubert Davis mêle entretiens personnels, images d’archives et films de famille selon une construction élégante en trois chapitres («l’amour», «le souvenir» et «la rédemption») et plonge dans le passé de son père dans l’espoir de trouver une nouvelle direction à sa propre vie.

Continuous Journey (Ali Kazimi, Canada, 87 min., v.o. ang., 2004)
The Kamagata Maru entered the port of Vancouver in 1914. On board were 376 immigrants—men, women and children—from the British East Indies. As subjects of the Crown, they believed they had the legal right to settle in one of the Empire’s territories. That was not to be the case. For two months, the passengers lived like prisoners, threatened by famine and disease as the ship was refused permission to land. At the time, Canadian society was characterized by strong racist tendencies among people determined to preserve a predominantly white, Anglo-Saxon heritage and who called openly for a “White Canada Forever.” The incident of the Kamagata Maru marks a dark chapter in Canada’s immigration history and contributed to the growing anti-colonial sentiment in India. The film, which required eight years of research, is solidly documented, packed with archival material, and presented in an original way that resonates powerfully with contemporary events.

En 1914, le Kamagata Maru arrive dans le port de Vancouver. À son bord, 376 immigrants, des hommes, des femmes et des enfants, en provenance des Indes britanniques. En tant que sujets de sa Majesté, ils pensaient pouvoir légitimement s’ établir dans un dominion de l’Empire. Tel ne fut pas le cas. Le bateau restera deux mois en rade, faisant de ses passagers des prisonniers menacés de famine et de maladies. À cette époque, le Canada tait traversé de forts courants racistes qui voulaient conserver la domination anglo-saxonne blanche au pays, prènant ouvertement un White Canada Forever. L’incident du Kamagata Maru marque un épisode sombre dans l’histoire de l’immigration au Canada, contribuant à nourrir un sentiment anti-colonial naissant en Inde. Ce film, extrèmement bien documenté, foisonnant d’archives et inventif dans sa forme, a nécessité huit années de recherches et a une forte résonance actuelle.