Kategorie: Talks (Video)

Aufgezeichnete Referate | Recorded Talks

Rand Beiruty

Rand Beiruty is a writer, director and co-founder of Shaghab Films, a production company based in Amman, Jordan. She holds a practice-based Ph.D. revolving around questions of representation and participatory filmmaking from Film University Babelsberg KONRAD WOLF. Beiruty has pitched her projects on international platforms and received awards from Tribeca Film Institute, Mifa Animation du Monde, Arab Cinema Center and European Network of Young Cinema among others.

Her debut feature documentary TELL THEM ABOUT US was awarded best pitch at the Reception of German Film Schools and Haus Am See scholarship. The film celebrated its world premiere at CPH:DOX 2024 and received the ECFA Award for Best European Feature Documentary for Young Audience at the 64th Zlín International Film Festival. Her short animated documentary SHADOWS celebrated its world premiere at the 81st Venice International Film Festival and won the World Animation Award at the Leeds International Film Festival.

Filmography (selection):
2024 SHADOWS – Animated documentary | 12’
2024 TELL THEM ABOUT US – Feature documentary
2018 NUDAR – Short documentary | 20’ | DE
2017 HALFWAY – Short animated documentary | 4’ | DE

Publications:
– Contribution to “Positions and Perspectives on Artistic Research in Film”,
….IJFMA No.1 GEECT – Transversal Entanglement, P118. (2022)
– Towards a Participatory Approach: Reversing the Gaze when (re)presenting Refugees
….in nonfiction film, International Journal of Film and Media Arts (2020)

Webseite: https://randbeiruty.com/

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ZDOK.25 contribution:
> Building Collaborative Relationships and Participatory Re/enactments
Film:
> TELL THEM ABOUT US

The work of documentary relationships

by Emily Coleman

Documentary-makers often say that building relationships with their contributors is the most important skill of their job – yet it takes place around the margins of the more tangible tasks of filming and editing, often without pay or acknowledgment from the media industries. This paper explores documentary relationships as a form of work, examining what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. By analysing how these relationships function on three different levels – interpersonally, procedurally and organisationally – I will consider the implications for cultural policy, regulation and duty of care.
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CV:
> Emily Coleman

Emily Coleman

Emily Coleman is a Postdoctoral Fellow at King’s College London, whose research into documentary production and the cultural industries has been supported by both the Arts & Humanities Research Council and the Economic & Social Research Council. Previously, she worked in the TV industry for over 15 years, producing and directing factual programmes and documentaries for the BBC, ITV, Channel 4, Channel 5 and SKY. She will soon publish her book The People We Watch (Routledge, 2025), which explores the perspective of participants, and considers how their experiences are impacted by their relationships with filmmakers and the political-economic context of the media industries.

Selected publications:
Coleman, E. (2023). The Wellbeing of Ordinary People in Factual Television Production.’ Media, Culture and Society. DOI: 10.1177/01634437231155
Coleman, E. (2023). ‘The Work of Documentary Relationships.’ European Journal of Cultural Studies. DOI: 10.1177/13675494231208501
Coleman, E. (2025). ‘Exploitation and Documentary Contributors.’ In Piotrowska A (ed.) The Ethics of Documentary Film. Edinburgh: Edinburgh University Press
Coleman, E. (2025). The People We Watch. London: Routledge

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ZDOK.25 contribution:
> The Work of Documentary Relationships

Mit Beharrlichkeit zur Einvernehmlichkeit

oder wie ich die Szenen drehen konnte, die mir wichtig waren

von Annett Ilijew

Das Einverständnis, dass ich mit Michael Ruetz, oder er mit mir, einen Film über ihn und sein Werk machen wollten, war recht schnell da. Die Übereinkunft, wie der entsprechende Film im Detail ausschauen sollte, dauerte etwas länger. So ungefähr acht Jahre. Und das, was sich über diese Zeitperiode an Diskussionen, Überzeugungsarbeit, Beharrungsvermögen, Suchen nach anderen Lösungen, doppelten Umwegen, Einbeziehung von nächsten Angehörigen, Mobilisierung der Crew für die eigene Sache und natürlich auch ein bisschen Streit zusammenaddierte, würde ich als wesentlicher Teil meiner ‘Regiearbeit‘ bei FACING TIME beschreiben, und es war wohl genau das, was der Untertitel dieser Tagung beinhaltet, nämlich: Beziehungsarbeit im Dokumentarfilm.

Zu Beginn erschien mir eigentlich alles klar: Dieser hervorragende Fotograf hat in einer sehr aufregenden Zeitperiode ein beeindruckendes Werk geschaffen. Viele seiner Bilder sind zu Ikonen der deutschen Nachkriegszeit geworden. Das alles zusammen ergibt eine großartige Ausgangslage für einen vielschichtigen Film, in dem sich biografische mit zeitgeschichtlichen Ebenen verknüpfen. Michaels Vision sah zu Beginn etwas anders aus: Wir zeigen ausschließlich seine Timescape-Bilderreihen und dazu hält er einen Vortrag.

Acht Jahre später war der Film da, wir beide zufrieden und unsere Freundschaft grösser. Und so ähnlich geht es mir des Öfteren. Durch die längeren Zeitspannen, die ich zusammen mit meinen filmischen Figuren und ihren Angehörigen durchlebe, bin ich auch zu ein paar Patenkindern gekommen.

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Film:
> FACING TIME (2023)
CV:
> Annett Ilijew

Transnational and Digital Ethics

by David Alamouti

Above all other forms of film (and filmmaking), ethics is one of the key factors that defines and distinguishes the documentary film. Much of the institutional ethical frameworks and discourses currently used in documentary filmmaking are problematic because they are passed down from journalistic (and a general media) ethics, where the relationship between maker, participant and audience is fundamentally very different. But even more problematically, much of these ethical conventions are from a previous analogue-based era of distribution and exhibition, which has fundamentally changed since the advent and adoption of digital and web-based technologies into the film supply chain. These changes are fundamental to determining the level and type of “risk”- which sits at the heart of a filmmaker’s duty to their participant, and informs any ethical frameworks designed to safeguard and protect these. However, many of our ethical practices and conventions do not account for, let alone address, these vast and encompassing changes. Using the making of a feature documentary as a case study, this talk will explore how the changes in exhibition and distribution have affected traditional notions of ethics and what filmmakers should address when considering new ethical frameworks that are more suitable for a transnational, web-based documentary landscape.

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CV:
> David Alamouti