Documentary film festivals in australia,national geographic live polar obsession,disaster preparedness uganda 4g - You Shoud Know

Each festival page here on Desktop Documentaries has its own Facebook and Twitter button, so you can quickly share each festival with other filmmakers, friends and family. Navigating the film festival circuit can be tough, so here are a few simple tips to keep you on track.1. Ita€™s easy to create your page below:1) Write a detailed description about your film festival. Vimeo Festival + Awards  The Vimeo Festival + Awards is a celebration of the best original videos online. Mental Health Channel (MHC) Online Film Festival We are delighted to announce that we've launched the 2015 Online Film Festival (MHC OFF), and voting for the Audience Award is now open! Toronto Smartphone Film Festival  4th Annual Toronto Smartphone Film Festival Call for Submissions - Deadline April 12, 2015 . Chagrin Documentary Film Festival 5th Annual Chagrin Documentary Film Festival October 8 through 12, 2014! San Francisco International Film Festival Founded in 1957, the San Francisco International Film Festival is the longest-running film festival in the Americas. Slamdance Film Festival Born out of rejection, Slamdance showcases new and emerging independent artists, filmmakers and storytellers. Yorkton Film Festival  The Yorkton Short Film & Video Festival is the longest running festival of its kind in North America. Australian International Documentary Conference For four days, more than 600 delegates converge on Adelaide for the Australian International Documentary Conference (AIDC). Full Frame Documentary Film Festival The Full Frame Documentary Film Festival is an annual international event dedicated to the theatrical exhibition of non-fiction cinema.
I am a professional filmmaker, and I applaud this site for detailing the ABC's of documentary filmmaking. This is not an article that seeks to survey the Asian documentary festival scene comprehensively or with neat generalisations.
Although the first international documentary festival in Asia was not staged until 1989 at Yamagata, precursors to such exhibition impulses, or the eagerness on the part of documentary filmmakers in this region to engage their audiences in public settings at a grassroots level, could already be observed with the independent screenings mobilised by Japanese documentarist Ogawa Shinsuke among students and activists from the mid-1960s.
It is in their differences that we try to grasp the ways in which these festivals dialogue with and relate to each other against the gradually homogenising Asian cultural economies; it is also in the splendid connections among the festivals and across their diversified actors, film communities and entities that we glimpse the creativities and discontents of Asian documentary cinema, as well as the entwined sociocultural histories that it has recorded, critiqued and has become part of.
The earliest documentary film festival in Asia, the biennial Yamagata International Documentary Film Festival (YIDFF) will celebrate its thirteenth edition in October 2015. In 1972, when Ogawa Pro was on tour in northeastern Japan for independent screenings of their documentary series on Sanrizuka – works that chronicled the local peasants’ decade-long protests against the construction of Narita airport – the members temporarily stayed at the city of Kaminoyama in Yamagata prefecture. When the city of Yamagata (the capital city of Yamagata prefecture) was brainstorming event ideas to celebrate the centennial anniversary of the city’s founding scheduled to take place in 1989, Ogawa jumped at the opportunity to propose a film festival (there was also a suggestion for a food fair and other similar events). Sadly, Ogawa passed away due to cancer when he was still developing a visionary project utilising the festival as a meeting place and training ground for a younger generation of Asian documentary filmmakers.
As one of the pioneering auteurs of Chinese independent documentary, Wu Wenguang received a call from Ogawa during his stay at the 1991 Asian Film Festival held at Fukuoka, west Japan, where he was presenting his ground-breaking debut Bumming in Beijing – The Last Dreamers (Liulang Beijing – zuihou de mengxiangzhe, 1990). After all these years, in his blog entries Wu still reminisces about the documentaries he voraciously browsed at Ogawa’s place, including works by Ogawa Pro and those by filmmakers such as Hara Kazuo. After Ogawa was gone, Wu continued to return to Yamagata to present his work and meet old friends.
Emphasising YIDFF’s connections with Ogawa is less about mystifying a central figure and crediting everything to a legendary founder, and more about tracing Ogawa’s vision and practice as something that underpinned Yamagata’s origins. While searching for reference materials on the Yamagata festival, including reports, interviews and roundtable talks, I came to realise that a complete story of the YIDFF is interwoven with the memoirs about Ogawa on the one hand and anecdotes about the participation and support of audiences and citizens on the other hand. As a social project, Yamagata festival might resemble Ogawa Pro’s filmmaking projects in having become a ‘living thing’ (ikimono in Japanese): rooted in its own soil, it has developed its own network connecting organisations, people and places. It is also tempting to position the YIDFF onto the global topography of documentary film festivals. In her contribution to a 2013 anthology dedicated to the YIDFF, Yamagata’s programmer Fujioka Asako imagines a conversation between an Asian documentary auteur named “Wang” and a European festival programmer known as “Thomas,” wherein she offers a critical reflection upon the euphoric boom of European documentary film festivals such as IDFA. My intention here is not to privilege the current Yamagata model as something “better” or “more authentic,” yet its lack of a market discourse and its stubborn commitment to exhibition throughout these 25 years not only speaks about its self-positioning or “Going-My-Way” style (as “Thomas” would call it) in the international festival system, but also provokes us to rethink how we make sense of the “trends” or “anti-trends” in international film festivals, and how it is possible for a local festival to engage the global grammar with vernacular idioms without necessarily being totally subjected to homogenisation, upgrading in competition, and growth into a larger, more spectacular event. With this said, the YIDFF is indeed facing practical challenges in engaging two disparate yet overlapping communities.
Another is the wider film community that has been closely knitted together on the platform of Yamagata. On March 21, 2015, the day of the spring equinox, Beijing Film Academy’s Professor Zhang Xianmin, who is more widely known as a producer, programmer and critic of Chinese independent films, whimsically launched a campaign in support of Yunfest on Weixin (a mobile app widely used among the mainland Chinese population that integrates functions of both “WhatsApp” and “Facebook, known in English as “WeChat”). Zhang’s light-hearted online project reminds us of the current dire situation that most of China’s pioneering independent film festivals are enmeshed in, including Yunfest and festivals in Beijing (Beijing Independent Film Festival, established 2006, and China Documentary Film Festival, established 2003) and Nanjing (China Independent Film Festival, established 2003). Nevertheless, the “independence” of these grassroots festivals should not be essentialised; rather, it is always situated within their networking with other actors, people and entities, including the cultural authorities of the People’s Republic of China (PRC). Grasping the significance of independent documentary film festivals begs a review of the development of the PRC’s independent documentary making, which emerged in the late 1980s as an extension from the richly woven tapestry of China’s relatively liberal art and culture scene of that decade. While the early wave of independent documentary’s enfants terribles like Wu Wenguang, Duan Jinchuan and Jiang Yue were once affiliated with work units (danwei) such as TV stations or state-owned film studios, and somehow managed to accomplish their first projects with equipment loaned from the TV stations and so forth, in the 2000s the popularisation of digital video (DV) and relevant digital filmmaking technologies have further revolutionised the mode of production and even the aesthetics of independent cinema. The inaugural Yunfest in 2003 celebrated the overarching leitmotifs of anthropology and ethnography, mostly because this event was originally masterminded by several Kunming-based anthropology scholars and graduate students who were affiliated with Yunnan Provincial Museum, Yunnan Provincial Academy of Social Sciences (YASS) and the East Asia Institute of Visual Anthropology (EAIVA), the first visual anthropology institute in Asia that was collaboratively run by Yunnan University and German institutes. According to Yunfest’s programmer Yi Sicheng, in the early 2000s, people who were organising grassroots cinephile activities nationwide (mainly screenings at alternative venues such as cafe, salons and university classrooms) gradually came to the realisation that they could also launch grassroots festival-like events to circulate and exhibit an increasing number of independently produced films, given the fact that officially run cultural platforms hardly offer opportunities and outlets to showcase such new works. The second edition of Yunfest in 2005 shifted its focus to Chinese independent documentary. Ethnography centred projects did not disappear from Yunfest, but this strand transformed into a socially engaging sidebar of “Participatory Visual Education” after 2003, showcasing works made by villagers from mountainous regions and ethnic communities with DV cameras handed to them by research NGOs and NPOs.
Upon its establishment, Yunfest was already envisioning itself as a “professional” (zhuanye) film festival.
The Yamagata-Yunfest alliance was reinforced by occasionally launching the workshop-like documentary “dojo” (originally a Japanese term referring to the training ground for martial arts) respectively at Yamagata and Yunnan, wherein both the Japanese and Chinese participants spent days living together (Ogawa style) with veteran filmmakers and other film professionals (scholars, programmers and critics) from both countries.
Despite its affiliation with provincial research institutes such as YASS, Yunfest needed to finance itself independently with overseas cultural funding (such as the Ford Foundation, International Documentary Film Festival Amsterdam, and the DOEN Foundation), and occasional sponsorships and donations from enterprises and individuals. For Yi, the “best of times” for Yunfest arrived, even if only briefly, even if only as an “illusion,” when the second festival was able to showcase all the films at the provincial library located in central Kunming, with all the screenings open to the public free of charge.
In the summer of 2014, when I asked Yi “what this film festival would have been like if it weren’t cancelled,” he chose not to give me a direct answer. DMZ International Documentary Film Festival (DMZ Docs) is actually not taking place in the Demilitarized Zone (DMZ) between North and South Korea, but in the city of Goyang (previously also in the city of Paju), almost 40 minutes’ subway ride from central Seoul. The sixth DMZ Docs in 2014 showcased 111 documentary films under three major competition sections: International Competition (12 films), Korean Competition (9 films) and Youth Competition (Korean short films by students), besides its variously themed sidebars. DMZ Docs’ timing is revealing about its positioning within the East Asian film festival landscape, specifically in relation to the biennial YIDFF and the Taiwan International Documentary Film Festival (or TIDF; established in 1998, it takes place biannually in May, with a competition section). Geopolitical issues aside, what essentially distinguishes DMZ Docs from YIDFF, TIDF and Yunfest might be the “DMZ Project Market” (DPM), established in 2013. Importantly, the pitching platform at DPM generates coproduction opportunities for Asian documentaries, with the geographical underpinning of “Asian documentary” broadened and redefined. Nevertheless, the industrial model of the DMZ Docs does not necessarily homogenise the event’s “going-my-way” impulses. When the inaugural Yamagata festival was held 26 years ago, not only was there not a single documentary from Asia in its competition line-up – the idea of “Asian documentary” and its “network” mostly involved anxieties about the lack of mutual understanding and interconnections among filmmakers across the region (specifically in the context of East Asia). Sign up here to receive announcements, news and special offers from Sebastopol Cinema Arts. The 23rd edition of the International Documentary Film Festival Amsterdam (IDFA), the world's largest and most prestigious film event devoted exclusively to non-fiction film and media, will run from 17 - 28 November in the city of Amsterdam.
As someone who appreciates attending documentary-only film festivals, I must admit that after a few days, it can become a bit of a slog.


Despite the lingering economic doldrums that have hit the film industry (and the world at large) in the past few years, the sales environment at IDFA: the International Documentary Film Festival Amsterdam, has been remarkably strong. One of the things that a documentary film can do best is to provide a much deeper analysis and background to stories that one first encounters on the daily news or in the newspapers. While IDFA, the world's larget and most prestigious documentary film festival, brings back veteran directors year after year, this year there are some special programs focusing on emerging talents, both students and fledgling documentary filmmakers. Films Transit International, the premiere distributor of international documentaries with offices in Montreal and New York, is having a record year at this year's IDFA, the world's largest and most prestigious documentary film festival. Over 2000 national and international guests are descending on the historic city of Amsterdam as the 23rd edition of IDFA: the International Documentary Filmfestival Amsterdam begins its 11-day marathon of film premieres, professional activities and special events.
Ally Derks, the long-time director of IDFA: the International Documentary Filmfestival Amsterdam, gave the opening address on Wednesday evening for filmmakers, professionals and attending guests assembled for the official opening of the 23rd edition of the much-respected documentary festival.
All eyes are turning to Amsterdam starting today when the the International Documentary Film Festival Amsterdam (IDFA), the largest and most prestigious non-fiction media event in the world, kicks off its 23rd edition.
While Amsterdam certainly boasts its own unique cast of characters that one can observe on the streets, in the stores and the coffee shops, some of the most intriguing people I met during my stay at IDFA were on the film screen. Asian and European films dominated the top awards at IDFA, the International Documentary Film Festival, which held its awards gala yesterday afternoon at the historic art nouveau movie palace, the Tuschinski. At a film festival such as IDFA that is exclusively devoted to documentary film, a dedicated viewer (which, at a minimum of 4 films per day, qualifies me) cannot help but be constantly batted from feelings of outrage and anger to feelings of optimism and hope. At a typically informal gathering at the Festival's resident club on Wednesday evening, the jurors in various categories in the IDFA Awards competitions announced the three-film nominees before a packed house of anxious filmmakers and guests. The subject of music, its influences, its artists and its role in cultural life, are examined in the 18 music-themed documentaries that are being showcased this week at IDFA, the International Documentary Festival Amsterdam, the largest gathering of docu-files in the world. The on-going conflict in the Middle East provides a tableau for a diverse group of films at IDFA, the International Documentary Festival Amsterdam, the largest documentary film event on the planet. Israeli filmmaker Eyal Sivan has been asked by IDFA to program a personal Top Ten List of his favorite films for this year's event.
If you are an industry professional who works in the world of documentaries, it is a pretty sure bet that you are spending this week in Amsterdam at the IDFA International Documentary Film Festival Amsterdam.
Dutch cinema circuit Pathe Netherlands, a long-time collaborator with IDFA through its Tuschinski and Munt theaters which host many of the festival’s  events and screenings, is launching a new documentary label called Pathe Docs, aimed at bringing documentaries to a wider audience.
Getting a prize at IDFA, the International Documentary Film Festival Amsterdam, can be of major significance to a documentary film at the start of its long journey through the Festival circuit and, hopefully, to theatrical, television and ancillary distribution. Veteran documentary filmmaker Frederick Wiseman was honored at IDFA's Opening Night ceremonies last evening with a Living Legends Award.
Instead of tediously submitting your film to one festival at a time, you can simultaneously submit all at once through an online digital submission service.For many years, Withoutabox was THE go-to resource for film festival submissions. I am a beginner with an idea, and the info and articles on your website are easy to understand and answer many questions I have. Through case studies of three documentary festivals of international magnitude in East Asia – in Japan, Mainland China and South Korea – I will briefly outline the festivals’ origins, historical trajectories and contingent, complicated connections. Compared with the pioneering Yamagata festival founded by Ogawa, however, later events such as the Chinese indie festival Yunfest, in Yunnan, and Korea’s emerging DMZ Docs, were born out of decisively different documentary filmmaking traditions and industrial institutions (or the lack thereof). After establishing a close relationship with some locals there, including Kimura Michio, who would become a peasant poet and claim “it’s the luckiest thing in my life to have met Ogawa Shinsuke,”(1) Ogawa Pro made a surprising decision: they would relocate to Magino Village in Kaminoyama, also Kimura’s home village, where they started collective life in a borrowed farmhouse.
According to film scholar Abe Mark Nornes, the ambition or insanity of Ogawa Pro in terms of the scale of its “conception of documentary practice” might be unparalleled and even unthinkable for today’s filmmakers, given the fact that the Ogawa Pro projects were both time-consuming (they spent years living at the actual shooting locations) and expensive (they shot on film stock and had the additional burden of sustaining the everyday lives of the collective’s members). Preparing for the inaugural festival took over two years, with festival organisation offices set up in Tokyo and Yamagata. For instance, the 1989 Yamagata festival held a five-hour-plus Asia Symposium in which filmmakers, critics, scholars and other film professionals from both East Asia and Southeast Asia participated.
With Ogawa’s help, Wu was able to extend his Japanese visa and had the opportunity to visit Ogawa’s studio during his short stay in Tokyo, before he could finally participate in the 1991 YIDFF – the last edition at which Ogawa was present before he passed away.
He recalls, “After returning to Beijing, my mind was occupied with Ogawa’s words and images of farmers crawling along fields fighting against the police. With 1966, My Time in the Red Guards Wu became the first recipient of the Ogawa Shinsuke Prize in 1993, the top award in the New Asian Currents part of the festival. In a sense, YIDFF has extended Ogawa’s social practice in leveraging the power of documentary film(making) to engage the public, which at the same time has also helped to generate a small history of cinephilia. Most importantly, it is nourished by and grows out of the joined force of people who have faith in it and are dedicated to it. Here I want to rely on a comparative framework to look at what exactly sets the Yamagata festival apart. Unlike the European metropolis Amsterdam, Yamagata may never impress visitors as a vibrant “global” cultural centre, despite the latter’s ambitious regeneration plan to build itself into a UNESCO-accredited “Creative City of Visual Culture.” The Yamagata festival seems to carve out an anti-model against the grain of the new festival economies that invariably incorporate an alluring funding scheme and a dually focused market imperative, which usually includes both a market for trading accomplished works and a market for pitching projects. As such, the seemingly peripheral YIDFF model might be one of the most idealistic in keeping to what it has been in terms of scale and structure, and trying to define its productivity in terms of programming explorations instead of the generation of new industrial agendas.
For instance, the festival is not without pressure in finding audiences for its films and vice versa.
Within hours, Zhang had re-tweeted dozes of photos sent to him from all over the world by people who are familiar with the Chinese indie film scene, with each of the pictures entitled “South of the Cloud” (yunzhinan), the Chinese title of the film festival.
Having emerged since the early 2000s, these grassroots-level festivals emphasize programming and showcasing contemporary independent films from mainland China. As a film movement, it also grew out of post-Tiananmen China’s sociopolitical conditions, with the outburst of creativity in image-making testifying to the drastic process of urbanisation and city-making nationwide. And they have enabled more amateur filmmakers, broadly defined here as people who are not professionally or systematically trained at film institutes, to participate in the film movement with renewed sociopolitical agendas. In its main competition, for which the Yunfest assembled a line-up of 22 films out of around 90 open call submissions, we could spot works from the new voices in Chinese independent documentary: Feng Yan (Dreams of the Yangtze River, 2002), Ji Dan (Gongbu’s Happy Life, 1999), Zhou Hao (Houjie Township, 2002), and Hong Kong’s Tammy Cheung (Rice Distribution, 2002). This edition not only saw more submissions from the independent sector, which encouraged the festival to drop the keyword “anthropology” (renleixue) in its Chinese title to include a wider spectrum of selections – its competition section also presented a full line-up of works shot with DV, indexing the new dynamics underpinning the technological ecology of the PRC’s independent cinema. 2005’s Yunfest built its retrospective “Flashback” section around Japanese documentaries, presenting a juicy line-up of seven films by auteurs such as Ogawa Shinsuke, Tsuchimoto Noriaki (Minamata: The Victims And Their World, 1971) and Mori Tatsuya (A, 1998), accompanied by an introductory article written by YIDFF’s Fujioka Asako in the festival catalogue.
They would exchange ideas through group filmmaking exercises and wonderful drinking sessions. Yunfest therefore also expanded the discursive space of independent documentary to accommodate a much more heterogeneous viewership, which was even inclusive of audiences who might have hardly known anything about documentary cinema prior to the festival.
It is intriguing that he echoed Yamagata’s “going-my-way” logic by arguing, “The most challenging thing is not to develop it into something bigger but to keep it small, so that you can keep your independence, and to be faithful to what you were originally pursuing.” He reminded me of the fact that Chinese independent documentary filmmakers, as well as independent festival programmers, might work within the most harsh political and financial environments, yet their creativity has been never curbed or killed – instead it grows and has been constantly renewed. As the tenth largest urban centre in Korea, Goyang impresses as a well-planned satellite city with blocks of modern exhibition centres (KINTEX) and shopping malls. Despite the festival’s too generalised core concept of “peace, communication and life,” this 2014 line-up incorporated some of the most exciting 2013–14 productions from all over the world to highlight refreshing methodologies, daring experiments and pressing issues in documentary cinema, as if the programmers were trying to bombard festival-goers with a heterogeneous set of selections in order to leave “what counts as a documentary?” an open question. As sharply pointed out by the 2014 festival guest, media scholar Catherine Russell, while espousing film projects exploring North Korea-centred issues that fit into the South’s imaginary of a “motherland,” the government-backed DMZ festival does not take these topics further nor encourage more critical questioning of the actual political conditions on the Korean peninsula. Developed from the festival’s previous grant initiatives, DPM best illustrates the neoliberal connotation of a “film project” by assembling the full industrial cycle for a potential project, with its segments DMZ Pitch (presentation sessions for selected pitches), Project Meeting (consultations with industry professionals), Docs in Progress (evaluative discussions for previous funding recipients), DMZ Talk (themed panels) and finally, DMZ Docs Project Screening (showcasing finished DPM-funded projects). For instance, 2014’s DMZ Pitch included Chinese auteur Wang Bing’s new documentary project Shanghai Youth (under the “Asia” section). On consecutive nights during the festival, in a small tent area near the mall, cinephiles were consoled with late-night snacks and alcohol, paid for by one of the festival organisers personally (different hosts swiped their own credit cards on site!). This is not due to the excellence of the films, particularly at a high-end event like IDFA, the acclaimed International Documentary Film Festival Amsterdam, which ends its 11 day run today. The film won both the VPRO IDFA Award for Best Feature-Length Documentary (the Festival’s top honor and winner of a cash prize of 12,500 euros) and the Dioraphte IDFA Award for Best Dutch Documentary.
A case in point is THE GREEN WAVE, a bracing and inventive look at the “green uprising” that spontaneously grew following the fixed Iran elections of 2009. The company, which is celebrating its 25th anniversary, has an impressive 11 films represented in both the Festival and the  parallel Docs For Sale market, including 5 films that are competing in the main Features Competition.


The film concerns an accountant for a large art fund who suddenly disappears from the face of the earth along with his family and millions of euros of public money. Showcasing more than 300 films and with evening “talk shows” and a full series of conferences and market social networking, this year’s event is a must for makers and lovers of non-fiction film. She used her remarks to offer a focus on the challenges facing both documentary filmmakers and supporters of the arts in these austere economic times. The Festival, which will show nearly 250 films over 11 days, opens with the Dutch documentary POSITION AMONG THE STARS by veteran director Leonard Retel Helmrich. When you immerse yourself in as many films as I did (an average of four per day), one comes away with a contact high from the encounters with unique individuals with unique stories and circumstances that stay with you (with me, at least).
The audience, made up of filmmakers, professionals and doc film buffs, loudly applauded the winners and the overall excellence of this year's program. Documentaries, unlike any other art form, really get under your skin with real lives, some of them quite desperate and terribly sad, that break down the tenuous barrier of us versus them.
The Awards themselves will be annnounced on Friday afternoon at the official awards ceremony held at the art nouveau palace, the Tuschinksi. Misfits from across the continent and across the seas find the city's open nature and history of tolerance a welcoming invitation. Aside from the films themselves, IDFA is sponsoring Dance Nights in the festival center Escape every evening, with performances by an eclectic array of DJs and bands. The films range from classic reportage to more intimate explorations of the passions, terrors and conflicts that are generated in this turbulent part of the world.
Sivan is in Amsterdam for the premiere of his latest film Jaffa, The Orange Clockwork, which screens in the IDFA Competition for Feature-Length Documentaries.
The Festival's imprimatur is highly regarded and respected in the world of programmers and festival directors, who are here in Amsterdam scouring for the best in non-fiction film. ME, a lacerating look at the inefficiencies of the United Nations, has its word premiere at the IDFA International Documentary Festival Amsterdam this week.
If you are in and into docs, Amsterdam is ground zero for film premieres, special events, chic parties and industry seminars and networking sessions. Instead of grand narratives, I favour small (hi)stories and disjunctive moments wherein filmmakers, film programmers, critics, researchers and audiences (volunteers) working in and through the force field of “Asia” comingle, interact and collectively create the creature of the film festival.
Ogawa not only sought support within the Japanese film circle by recruiting help from figures such as the influential film critics Yamane Sadao and Sato Tadao, he was also able to convince and collaborate with the Yamagata city government to secure their institutional backing, especially their sponsorship. Hosted by Ogawa and Malaysian filmmaker Stephen Teo, this symposium allowed participants to give firsthand accounts of the situations for filmmaking in their own regions or countries.
I felt I should immediately start my project about the Cultural Revolution, 1966, My Time in the Red Guards (1966, Wo de hongweibing shidai, 1993).
Through his Caochangdi Workstation in Beijing, he has also introduced a diverse range of Japanese documentaries into Mainland China, including films by the self-proclaimed ‘anti-Ogawa’ documentarist Hara Kazuo.
It is to reflect upon the festival’s role throughout the upheavals and undercurrents of Japanese contemporary cultural history, which Ogawa Pro spent all those long decades faithfully documenting. When the season comes, people travel all the way to Yamagata in order to watch films and volunteer for the festival. A convenient example would be the annually held International Documentary Film Festival Amsterdam (IDFA), which was established only one year earlier than the YIDFF in 1988. For Fujioka, however, the current situation that film festivals in Europe have to run on shrinking budgets, partially resulting from the widespread financial crisis, might suggest upcoming transformations of such a business model. Partially because the festival as an NPO still receives government funding (annually JPY150 million, or USD1.24 million), it has to include more public-oriented activities that contribute to local community building and even the city’s current regeneration projects via cultural enterprises. If it were not cancelled by the government in 2013, March 21, 2015 would have been the opening of the seventh edition of this biennale event, Yunnan Multicultural Visual Festival – or Yunfest – in Kunming, the capital city of Yunnan Province in southwest China. Despite the fact that they usually take place without seeking the authorities’ permission, governments at various levels are not ignorant of their existence. Independent filmmakers leverage DV as a lightweight, powerful weapon to engage with the ongoing transformations of Chinese society and the lived experience of ordinary Chinese people at various levels; what they have recorded and borne witness to also constitutes a history that complements and contests official narratives. In the same year, the YIDFF also presented a side event entitled “Yunnan Visual Forum in Yamagata,” which highlighted Yunfest’s dually focused themes of visual anthropology and independent documentary. When having their dojo at Furuyashiki village in 2009, where Ogawa Pro made A Japanese Village: Furuyashikimura (1982), the Chinese filmmakers might not have expected that Ogawa’s old friend Kimura Michio would be among the villagers and staff who drank sake with them.
The slow-paced, bohemian milieu of the city, and its distance from the political centre of Beijing also generated a semi-liberal atmosphere in which the guests could network and exchange ideas in a more relaxing, intimate way. Actually, the festival’s main multiplex theatre is located in a mall surrounded by sparse residential quarters and expansive undeveloped land. During these night sessions, festival organisers, volunteers, guests and audience members were able to share a table and indulge in a wonderful camaraderie fostered onsite.
During the festival, Sivan will also present a masterclass in which he will explain his choices for his list. In a film that exposes the incompetence and corruption at the heart of the United Nations, filmmakers Ami Horowitz and Matthew Groff show how an organization created to ennoble mankind now actually enables evil and sows global chaos. Film festivals provide a wonderful opportunity to connect with all kinds of people who are involved in the filmmaking process.Awards -- If your film is good, winning festival awards can be a great way to promote your film.
Film Festival is the first film festival dedicated entirely to nonprofit and cause-driven films. A young generation of passionate festival participants even formed a network named something like the ‘Unofficial Film Festival Support Group.’ They published the festival Daily News and facilitate screenings of Yamagata’s films around other Japanese cities.
The tension between the two parties often escalates into confrontation when the overall political environment worsens and the cultural policy tightens, wherein a vicious cycle repeats itself: the festival is forced to cancel (and may move underground), and in the worst situation all the films are confiscated and the venue shut down by force, as was the case with the 2014 Beijing Independent Film Festival. For independent filmmakers, they could simply enjoy the festival as a low-profile carnival, together with colleagues from all over China who could really relate to the isolation and frustration they had suffered throughout the creative process. Overall, DMZ Pitch in 2014 awarded grants to 15 projects, amounting to 325 million Korean Won (USD306,000) of funding. Among the volunteers each night was the familiar face of actor Cho Jae-hyun – best known for his performances in many of Kim Ki-duk’s films, from Bad Guy (Nabbeun namja, 2001) to the recent Moebius (2013) – who is actually the festival director.
His lastest project, LA DANSE, a portrait of the Ballet Company of the French National Opera.
3) Provide other details such as location, dates of festival, submission guidelines, etc.Your page can even include an embedded video promoting your festival or showcasing a trailer from a documentary that was shown at your festival to represent the kinds of films you're seeking. After the festival reshuffled itself into a non-profit organisation (NPO) in 2009, it was precisely these “unofficial” network members who took the lead in the new entity and kept publishing Daily News. Yunfest on the other hand, despite its self-imposed cancellation in 2013 under official pressure, has slipped into prolonged dormancy, for lack of better description, since rumours circulate that the festival might revive in the near future.
And its rich ethnic landscape has also proven valuable for studying globalisation at the local level, especially in terms of the minority communities’ transformations in the modern world, privileging Kunming as one of the best locations to launch anthropological research. In 2009, the Fourth Yunfest was even able to arrange screenings of domestic independent documentaries at three local multiplex theatres, something unprecedented for a Chinese independent film festival. Reminded of the liminal state of DMZ itself, I consider DMZ Docs a festival in a state of becoming: it is still experimenting in establishing the connections between its visionary line-up and audiences, as well as between cinephile power and the forces of the market. Have a game plan -- Ask yourself what benefit you'll get out of submitting your film to a particular festival. Accordingly, the first Yunfest presented a retrospective on ethnographic documentarist Yang Guanghai, one of the pioneering documentary filmmakers taking part in the state project of making “scientific documentaries on minorities” between 1957 and 1979.
It's a great social event and basically an excuse to met new people, hang out with friends and enjoy life. Read the fine print -- Understand that some festivals require that your film be a "world premiere" such as the Sundance Film Festival.



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