Show Your Video Works

Bring on the videos! :video_camera: :movie_camera: :camera:

The people on this forum love to see your videos.
Videos are simply added by placing the url in your comment.

Are there any other hybrid narrative/doco filmmakers in this forum?

Would love to chat about processes :slight_smile:

Here’s a teaser for a project from a few years back, that I am following on from next year:

My process was to interview a number of people about queerness and performativity, choose three people whose responses seemed to work together, and then build a narrative out of those interviews and everyday observations.

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Next year I’ll work with a similar process, but this time I will be interviewing queer and trans people about “queerness and class”.

Would love to hear from any makers who use interviews as the basis for hybrid explorations, and who re-create life experiences using a creative methodology (you could call this “re-enactment” but the process takes this into more creative places than usually found in documentary re-enactment).

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Im looking to forward to seeing it in full. Is this your first hybrid film Anna? I’ve always that for some docu filmmakers like us, the hybrid genre gives a familiar feel to filmmaking when transitioning to works that are more in the fiction side of the genre.

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Latest video from Reel News - COVID Transmission and Killer Workplaces. https://reelnews.co.uk/2020/11/04/coronavirus/covid-transmission-and-killer-workplaces/

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Thanks for sharing. Here in the Philippines, the spread of Covid-19 inside factories and other workplaces are underreported. Organised workers of course are making gains like the union from Nexperia, a semiconductors company, where the workers were assured of medical support in these times after their recently concluded bargaining agreement with the management.

I’ll forward this to a video collective I used to head that does a lot of videos for trade unions.

That’s an interesting question, King! I guess I made films before I cared about distinctions between “documentary” and “narrative” and “video art”, and only began to care when it came to figuring out how to sustain a practice in various filmmaker and arts communities and the film & TV industry in Australia. I describe myself as a moving image maker, because I don’t necessarily want to define what I’m doing, but let the project itself dictate its own format.

I’m doing my doctoral research into queer and feminist filmmaking methodologies, and one of the chapters is called Friendship as a Way of Filmmaking. I think that’s how I began - making moving images with the people around me that were films about our lives, but were just as creative as they were documents, so there has always been a blurry line there, and I think that’s true for a lot of queer moving image makers.

For a long time, that meant making moving images about the wider social movements I was involved in, challenging corporate culture, social inequity and environmental destruction - but these were never “documentaries” as such, as I was very much a part of what I was making films about.

I think you can see the queer avoidance of formats in the story of MIX (started in 1987 as MIX NYC by Sarah Schulman and Jim Hubbard, with various global proliferations since then). This festival and its out-growings has been such a cornerstone of both queer moving image making culture and transnational radical queer organising. I guess there’s an inter-disciplinarity that is inherent to a lot of queer work (not to invalidate more easily definable queer film!).

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Thanks for sharing Anna. Looking back, I wish I could have tried the organic approach you did with filmmaking. Letting the genre find its place while in the process of filming.

I guess for me, being part of a video collective, having defined parameters early on made the collaborative process easier. We needed to decide based on the social issue at hand if the output should be a newsreel for example. Budget of course was a constraint. Newsreels were cheap to produce. Once transportation problems were solved we were good to go. We were young back then, no family commitments that may hinder work considerably.

We managed to make docus if there was a grant or if we had some savings from previous work. I had the chance to make short narratives whenever there’s opportunity to contribute to public service ads organised by activist groups.

I wonder what’s the process for others.

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Great to hear about your newsreel days, King! I started the Oceania Indymedia Newsreal in 2003 with documentary filmmaker Tim Parish who was also member of Access News/SKA TV (the major activist media collective in Melbourne at the time), and then Andrew Lowenthal who was then a driving member of Melbourne Indymedia and a convener of the Oceania Indymedia network (and I believe had worked with SKA TV) joined us for the 2nd and 3rd editions of the newsreel. We would do a call-out for content each year, and compile each edition from the work of filmmakers around the region.

We were heavily influenced by Undercurrents’ News Zine (VHS) format - the Undercurrents model was to sell VHS News Zines, organisations around the world would order them via mail-order from the Oxford office. Another influence was SKA TV collective and their weekly “activist news” show on local community television Channel 31, which had been running for several years. Ntennis Davi from SKA TV had created a series of news zines on VHS called Global Insights, that as per the name, had a global focus.

The key difference for Oceania Indymedia Newsreal to those VHS compilations, was that we hosted the video on the Oceania Indymedia website, in addition to distributing the compilation on VCD. We sold VCDs (very cheaply) and posted them out to various Indymedia contacts, and held screenings in Melbourne, but didn’t go on the road as such.

EngageMedia was a product of those previous projects, but it was clear that the internet was the best available method of wide distribution, hence we began the Plumi open-source video-platform and our own video-sharing site, focused on building networks within the Asia-Pacific region (as we had started doing with Oceania Indymedia).

How did your newsreel operate, and what format did you use? I gather you did do a traveling “roadshow” of the newsreel? How many collective members were there, and how did you collect material - all in-house or did you do call-outs for content too? Would love to hear more about this project :slight_smile: :nerd_face:

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