Tuesday 23 August / Tuesday 23 août

8:15 - 9:00 (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)
(23.A) Copyright and Conditions of Production. / Droits d’auteur et conditions de production
Chair / Présidente: Marielle Nitoslawska (Concordia University)
Marielle Nitoslawska (Concordia University) The Privatization of Collective Memory
Patricia Aufderheide (American University, Washington, D.C.) Who Could Make the Next Eyes on the Prize?: Self-Censorship and Silencing as a Consequence of Copyright Clearance Culture
Robert Beveridge (Napier University, Edinburgh) Broadcasting the Truth: Can Media Regulation Support Best Documentary Practice
Frédéric Gimello-Mesplomb (Université de Metz) L’essor économique du documentaire scientifique télévisé en France depuis 1990

BREAK / PAUSE

10:55 - 12:25 (Cinéma de Sève, 1400 blv de Maisonneuve Ouest)
(23.B1) Documentary and the Emergence of Film Studies / Le documentaire et l’émergence des études cinématographiques
Chair / Président : Thomas Waugh (Concordia University)
Thomas Waugh (Concordia University) Documentary Film Culture and the Founding of Film Studies: the Case Study of Documentary Film News
Alex Juhasz (Pitzer College) Media Praxis Repressed! The Consolidation of Cinema Studies
Zoë Druick (Simon Fraser University) The Rome Institute of Educational Cinematography and the Beginnings of Film Studies
Michael Zryd (York University) Documentary Film as Alternative Cinema and the Rise of Film Studies in the 1960s

10:55 - 12:25 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(23.B2) Experimental Modes. Modes expérimentaux
Chair / Présidente: Catherine Russell (Concordia University)
Eugenia Giannouri (Paris III – Sorbonne Nouvelle) Le documentaire exposé
Krista Lynes (University of California, Santa Cruz)
Visual Currencies: Figuring Human Rights Abuses in Elahe Massumi’s Video Installations
Kenneth Rogers (University of California, Riverside) Capital Implications: Art, Culture, and the Politics of Labor in the Films of Juan Devis
Greg Brophy (University of Western Ontario) Prying the Object from its Shell: Stan Brakhage’s The Act of Seeing with One’s Own Eyes

10:55 - 12:25 (H-420, 1455 boulevard de Maisonneuve Ouest )
(23.B3) City / Space. Ville / Espace
Chair / Président: William Straw (McGill University)
Veena Hariharan (University of Southern California, Los Angeles) (Working Title) Inner-city symphonies: A history of the cinematic city
Olga Vázquez-Ruano (TU Delft, Faculty of Architecture)City Symphonies: Early Documentary and the Chorographic Map of the Modern Metropolis
Serazer Pekerman (Istanbul Bilgi University) Against the Dirty Skin of Haliç; The Re-Framing of Love and Haptics of Istanbul
Elihu Rubin (University of California, Berkeley) (Re)Presenting the Street: Video and the Practice of City Planning

10:55 - 12:25 (H-431, 1455 boulevard de Maisonneuve Ouest)
(23.B4) Home Movies. Les films amateurs
Chair / Présidente: Patty Zimmerman (Ithaca College)
Liz Czach (University of Rochester) From Repas de bébé to Tarnation: On Home Movies and the Documentary Film
Minette Hillyer (University of California, Berkeley) Local Knowledge: Home Movies as National Fictions
Efren Cuevas (University of Navarra) The Everyday Chronicles of Home Movie Making in Historical Documentaries: The Maelstrom, Private Chronicles. A Monologue, and Un instante en la vida ajena
Frances Guerin (University of Kent) Recycling Dilemmas: the films of Peter Forgács

10:55 - 12:25 (H-433, 1455 boulevard de Maisonneuve Ouest)
(23.B5) Missing Bodies. Corps perdus
Chair / Présidente: Alanna Thain (Duke University)
Alanna Thain (Duke University) Mapping the Uncanny Valley: The Documentary Value of the Synthespian
Robyn Fadden (Concordia University) The Endoscopic Gaze: Objectivity and Objectification Go Inside the Body (and Out Again)
Fiona Barnett (Duke University) Pigs and Prostitutes: The Case of Robert ‘Willy’ Pickton
Nayeli Garci-Crespo (Duke University) Defining the Body of the Ghost: The Digital Debate in Documentary Ghost Photography

LUNCH / PAUSE-REPAS

13:45 - 15:25 (Cinéma de Sève, 1400 blvd de Maisonneuve Ouest)
(23.C1) Brazilian Media. Les médias brésiliens
Chair / Président: Gaëtan Tremblay (Université du Québec à Montréal)
Fernando Andacht (Universidade do Vale do Rio dos Sinos, Sao Leopoldo, Brazil) The Documentary in the Age of Reality TV’s Representation of Everyday Real Life
Juliana Botelho (Université du Québec à Montréal) Media Representations and Visual Analysis: What is Visual and what is Evident about Racial Definitions? The Brazilian Case
Rousiley Maia (Federal University of Minas Gerais) Media Visibility and the Scope of Accountability: Mediated Debates about Video-Recorded Violence

13:45 - 15:25 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(23.C2) The Internet and the Self. L’internet et le Moi
Chair / Présidente: Lesley Shade (Concordia University)
Jacques Ibanez-Bueno (Université de Savoie) Real Documentary for Virtual and Intimate Life?
Debra Beattie (Griffith University, Queensland) Memorialising on the Internet
Eric Champagne (Université du Québec à Montréal) Le documentaire de soi, ou la vie devant une webcam
Ross Higgins (Concordia University) New Narratives of the Sexual Self: Gay Men on the Web

13:45 - 15:25 (H-420, 1455 boulevard de Maisonneuve Ouest)
(23.C3) Affect, Enactment and the Documentary / L’affect, la performance et le documentaire
Chair / Présidente: Janine Marchessault (York University), Kass Banning (University of Toronto)
Janine Marchessault (York University) The Iconicity of Affect: Reading The Family of Man
Susan Lord (Queen’s University) Acts of Affection: From Friendship to Solidarity in Documentary and Docudrama
Dorit Namaan (Queen’s University) Unruly Daughters to Mother Nation
Nicholas Balaisis (York University) Mechanisms of Expression: Moving Cars and Non-Actors in Kiarostami’s Ten

13:45 - 15:25 (H-431, 1455 boulevard de Maisonneuve Ouest)
(23.C4) Genocides: the Challenge of Representation / Génocides: Les défis de la représentation
Chair / Présidente: Noreen Golfman (Memorial University of Newfoundland)
Noah Shenker (University of Southern California) Restoring Memory: The Interventionist Potential of Genocide Archives
Melissa Jacques (University of Alberta) On Pornography: The Photograph as Holocaust Fetish
Jennifer Rhee (Duke University) Alfredo Jaar’s The Eyes of Gutete Emerita: The Refusing Gaze behind the Image
Sharon Sliwinski (York University) Crimes Against Humanity Made Visible: Atrocity Photography and the Congo Reform Movement 1904-1913

13:45 - 15:25 (H-433, 1455 boulevard de Maisonneuve Ouest)
(23.C5) Television and Docudrama. Télévision et docudrames
Chair / Présidente: Jacqueline Levitin (Simon Fraser University)
Jelle Mast (University of Antwerp) Claiming the Real: A Taxonomic Approach to the Study of ‘Popular Factual Entertainment’
Sarah Nilsen (University of Vermont) It’s a Small World, After All:
The Mickey Mouse Club Newsreels

BREAK / PAUSE

15:40 - 17:20 (H-110, 1455 boulevard de Maisonneuve Ouest) (simultaneous translation/traduction simultanée)
(23.D) Cadrer l’inopiné / Framing the Unexpected
Chair / Président: Jean-Luc Lioult (Université de Provence)
Catherine Summerhayes (Australian National University) Beyond What You Could Ever Imagine
Lise Gantheret (Université Paris III) Facing the Unexpected in Travel-Filmmaking
Patty Zimmermann & Sharon Lin Tay (Ithaca College, New York State/ Middlesex University) Digitising Desire in Documentary : Image, Contingency, Theory, and Copyright

20:00 (Cinéma de Sève, 1400 boulevard de Maisonneuve Ouest)
(23.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)

Ryan (Chris Landreth, Canada, 14 min, s-t. fran., 2004)
Oscar for best Animation Short Film
Oscar du meilleur court métrage d’animation

A gentleman panhandler. One of the pioneers of Canadian animation. Oscar nominee. Poor beggar. An artist unable to create. God observing the world. Fallen angel. Arrogant. Shy. Broken. Not destroyed “Ryan” is based on the life of Ryan Larkin, a Canadian animator who, thirty years ago, at the National Film Board of Canada, produced some of the most influential animated films of his time. Today, Ryan is living on welfare and panhandles for spare change in downtown Montreal. How could such an artistic genius follow this path? We will hear from the voices of prominent animators and artists discussing Ryan’s work, and from waitresses, mission-house caretakers and homeless street people who occupy Ryan’s present life. In the animated world of “Ryan”, these voices will speak through strange, twisted, broken and disembodied, 3-D generated characters...people whose appearances are bizarre, humorous or disturbing...appearances which in turn reflect the creator, Chris Landreth. Finally in the words of Anais Nin, “We don’t see things as they are. We see things as we are”.

Gentleman mendiant. Pionnier de l’animation canadienne. Finaliste dans la course aux Oscars. Pauvre clochard. Artiste incapable de créer. Dieu observant le monde, ange déchu. Arrogant. Timide. Bris, mais non anéanti. Réalisé par Chris Landreth, Ryan oscille entre l’animation et le documentaire, échappant ainsi toute définition banale. Le film s’inspire de la vie de Ryan Larkin, un animateur canadien qui, il y a trente ans, a réalisé à l’Office national du film certaines des oeuvres d’animation les plus marquantes de son époque. Aujourd’hui, Ryan vit de l’assistance sociale et mendie au centre-ville de Montréal. Comment un tel génie en est-il arrivé la? Ryan fait entendre la voix de Ryan Larkin et celles de gens qui l’ont connu par l’entremise d’étranges personnages en 3D, tordus, brisés et désarticulés... des personnages dont les allures bizarres, humoristiques ou simplement troublantes reflètent l’univers psycho réaliste de Chris Landreth.

Roger Toupin, Épicier variété  (Benoît Pilon, Québec, 97 min., Eng. Subtitles, 2003)

Dans sa petite épicerie surannée du plateau Mont-Royal, parmi des bonbonnières décaties, Roger Toupin tient boutique depuis plus de vingt-cinq ans. Ce petit commerce familial crée en 1939 par son père fut jadis un magasin général florissant où s’approvisionnait et se rencontrait tout un quartier ouvrier compos de familles nombreuses. Progressivement, le quartier s’est embourgeois et les voisins ont déserté les logements des rues environnantes, devenus trop chers. Avec les fantômes du passé, Roger tient toujours la barre et accueille avec bienveillance et convivialité ses derniers amis et clients, toujours certains d’y trouver chaleur et bon café. Tourn sur une longue période, le film témoigne de façon sensible et touchante des derniers moments d’une poque où l’épicerie était au coeur de la vie d’un quartier.

In a small grocery shop on the Plateau, leftover from another era, amidst wooden shelves and faded candy boxes, Roger Toupin has presided for more than twenty-five years. Back in 1939, his father opened a general store that quickly became a favourite meeting place for the large families of this working-class community. Gradually, the neighbourhood was gentrified and the original population moved out. But Roger Toupin’s shop is still open. It has become more of a drop-in centre for local residents than a business; friends and customers know they can always find warmth and good coffee there. Shot over a long period and incorporating many family photos, the film paints a compassionate portrait of a humble man, one of the last representatives of a certain working-class, urban culture, in which local grocery shops played key roles in neighbourhood life.