Vamik's Room , a film by Molly Castelloe. World Premiere, New Haven Documentary Film Festival, 22 August 2020

2020 ◽  
Vol 41 (6) ◽  
pp. 1189-1190
Author(s):  
Brian D'Agostino
Keyword(s):  
Documentary Film ◽  
Film Festival ◽  
New Haven ◽  
World Premiere

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.

Introduction

2011 ◽  
pp. 7-10
Author(s):  
Anne Billson
Keyword(s):  
North America ◽  
South Korea ◽  
Past Century ◽  
Film Festival ◽  
The Past ◽  
The Right ◽  
World Premiere

This chapter introduces the Swedish vampire film, Låt den rätte komma (Let the Right One In), which not only stands out from contemporary vampire films, but ranks among the very best vampire movies of the past century. The chapter mentions director Tomas Alfredson and screenwriter John Ajvide Lindqvist, who adapted Låt den rätte komma from his own novel of the same name. It also mentions a song by the lugubrious British rock singer-songwriter Morrissey as Lindqvist's inspiration for the title of his novel 'Let the Right One Slip In'. It recounts Let the Right One In's world premiere on 26 January 2008 at the Göteborg International Film Festival in Sweden and screening at other festivals in Europe, North America, Australia and South Korea. The chapter explains why Let the Right One In stands head and shoulders above other recent horror movies like Twilight from 2008.

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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