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Did you know that one of the first-ever movies was made in Lyon, France in 1895 and that it was a short documentary film? Fringe cinema, like mainstream cinema, is made up of a wide variety of genres and sub-genres, but from our perspective the foremost entries are documentary, world cinema and short film, the latter of which usually has a running time under 40 minutes.
In March, gbtimes takes a look into the changing cinematic scene in China and Europe by turning the spotlight on to niche film genres, such as short films and documentaries in the regions. During this interview with show star Joshua Jackson, he talked about what he’s going to miss most about the show, what Peter’s role will be in the finale, what he will take away from this experience as an actor, how involved he was in the conversations about what the final season would be, the fact that he didn’t think to take anything from the set as a memento, why he feels Fringe was able to engage an audience at a time when people have such short attention spans, how the finale experience compares to the finale experience he had on Dawson’s Creek, what he sees for the legacy of the series in television history, and how much he loves the ending to Peter’s journey.  Check out what he had to say after the jump.
What is your take on Peter’s journey?  Were you involved in any of the conversations about what you’re playing out in this final season?
With the Observer arc, you got to do a bit of an alternate version of Peter.  Was that something that you actively wanted the opportunity to do? How do you feel about the way Fringe engaged its audience, in today’s TV world that makes it easy for people to disengage? Even though they’re very different shows, you’ve been through a series finale before, with Dawson’s Creek, which had an equally emotional impact with its fans.  How would you compare the two experiences that you’ve had with these finales? This show has always been critically acclaimed, but hasn’t received the level of viewership that it deserved.  How do you think will Fringe be viewed, in the future?  What will its legacy be, in television history?



JACKSON:  This is a topic that I could talk about for a couple of hours because I find it really fascinating. Straight from its sold-out run as part of the United Solo Theater Festival in New York City, the award-winning Journey of a Bombshell: The Ina Ray Hutton Story takes the main stage at the Capital Fringe Festival. This set Ritz on a two-year immersion into all things Hutton, which included leaning personal and press information, interviewing surviving band members, and learning to tap dance.
Pioneering filmmaker Louis Lumiere’s 46-second “Workers Leaving the Lumiere Factory in Lyon” literally lives up to its rather mundane title, yet nobody could imagine the explosion of creativity that would take place over the next 120 years. Today, the number of filmmakers around the world fighting to make short films, documentaries and animation has never been greater, thanks to advances in the availability of technology. Melissa Ritz brings years of research to this one-woman piece, which earned her the Best Emerging Actress 2014 Award at the festival. She was renowned in her day, and even had her own show at The Dunes, but her personal life was even more compelling, with family secrets and twists and turns that piqued Ritz's interest.
British director Mat Kirkby, who won Best Live Action Short Film at the 87th Academy Awards, is among those fighters and he reminded us in his recent acceptance speech that short films are not made with money, but with tenacity and lots of favors. Tenacity and favors are also key requirements here at gbtimes when we produce our monthly special reports, such as the theme for this month entitled ‘Fringe Cinema’. Even though the claim is denied by McDonalds, some people still believe that Spurlock’s film led to the fast food giant withdrawing its extra-large portion offer. Our writers have abandoned the home comforts of mainstream film and set off to explore the wild frontiers of an industry that has launched many careers and whose productions are rarely shown in the local multiplex but rather at film festivals and shared online. In fact, at the heart of our special report is the 45th Tampere Film Festival (TFF) held in Finland, which is one of the world’s foremost short film festivals and is also one of the few to accept entries previously published on the internet.


He firmly believes that the festival’s aim is to remind people that cinema is art, not just entertainment or a money-making machine. From the Skopje Film Festival (Macedonia) and FEST (Serbia) to the Milano Film Festival (Italy) and the International Thessaloniki Film Festival (Greece), there are hundreds of annual film festivals around the world that champion the same values as TFF and have supported fringe cinema for decades. Please join the discussion in the comments below, and come back to our website for more on Fringe Cinema. This year gbtimes is one of TFF’s co-organizers and an exclusive partner of the Chinema program, which features contemporary Chinese filmmakers and highlights the need for more international distributors based in China. With countries like China experiencing a growth of short film and documentary production, we can look forward to seeing more of the world through the eyes of native filmmakers and hopefully shake off stereotypes and prejudices we may have unwittingly picked up.
With the help of our reporters from different parts of Europe, our special report will also explore the niches of a changing cinematic scene, the need for film festivals and raise awareness of a hotbed of film creativity.
Today, each of those directors continues to try and make films that show cinema can be art as well as a great place to share new ideas, just look at Interstellar (2014) or Requiem for a Dream (2000).
The aim is to become an online exhibition of the best Chinese productions in order to become a bridge between China and the outside world, with its media products reflecting the country’s history, culture and modern life. Be it Netflix, YouTube, Chinese distributors or the Tampere Film Festival, fringe cinema still needs every available bridge in order for its tenacious and favor-seeking filmmakers to reach out beyond the domestic market and reach the mainstream.
We invite you to explore our special report further and begin a cinematic journey to that fringe because you can see so much more from the very edge.



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