NFB film playlists

NFB playlists1

My young colleague Tobi Elliott who helps me with this blog has this to say:

I recently spent a morning browsing the NFB’s excellent resource of film playlists. The playlists have been a feature of the new www.nfb.ca website since it launched in January 2009. Invited guests and their own staff have grouped together films around themes ranging from the powerful to the whimsical, the obvious to the obscure.

I have one conclusion…. You can get lost in there! The only way I can justify spending hours watching ten of these films at a time, is by rationalizing that it’s the duty of every young filmmaker to see the work of filmmakers that have gone before them.

Thanks to the playlists, it becomes a delightful chore. They are a useful tool for whittling down the wonderful selection of films available on the website. They also provide insight into the making-of certain films and in some cases, the historical context that otherwise would be lost to someone of my generation.

NFB Roche playlist

The NFB’s Guest Playlists include film groupings by the following people, some of whom are in-house producers and filmmakers:

  • Douglas Roche: The Strength of Peace (Magnus’ film Uranium, Terry Nash’s If You Love This Planet, and Martin Duckworth’s Return to Dresden are included in this list)
  • Tre Armstrong: Dance, Music and Passion
  • Donald McWilliams: Norman McLaren: Hands-on Animation
  • Colin Low: Recollections from a Distinguished Career
  • Alanis Obomsawin: a Retrospective
  • Gil Cardinal: The Aboriginal Voice
  • Katerina Cizek: Manifesto for interventionist Media
  • Thomas Waugh, Ezra Winton and Michael Baker: Challenge for Change
  • Adam Symansky: Donald Brittain

The guest authors of their collections take one of two approaches in their selections: either they focus on a theme or a particular filmmaker. Cizek’s playlist brings together 11 films on “the philosophy and practice of ‘Art as a Hammer’.” Her picks range from 1944’s short Democracy at Work to 2008’s RiP! A Remix Manifesto.

NFB symansky playlist

Symansky’s collection brings together eight Donald Brittain films, each written up with a personal recollection of Symansky’s about the “making of” of the film. The writing alone is an invaluable resource for younger filmmakers like myself.

In the NFB’s Expert Playlists, their resident collections expert, Albert Ohayon, put together six useful playlists:

  • 10 Great Films from the last decade you may not have seen
  • The 1960s: An Explosion of Creativity
  • The 1950s: Television and the Move to Montreal
  • Canada’s Diverse Cultures
  • Bill Mason: Beyond the wild, beyond the paddle

And finally, the Thematic Playlists comprise almost sixty collections of films and clips, intriguing because there’s such a huge variety. Where else can you access groupings ranging from ‘Winter Sports Movies” to “Canada’s got Treasures!”?

Treasures indeed.

Thanks to Tobi Elliott for this post.

Sexy concrete – documentary theatre

SexyBeton2011
France Roland and Maude Laurendeau-Mondoux in 'Sexy béton'.

Last week I went to see a terrific documentary play called SEXY BÉTON, or “sexy concrete”. It was created by Annabel Soutar of the Porte Parole theatre company in Montreal – only the last in a series of documentary theatre performances.

And this truly is a documentary ‘démarche’ – to use this excellent French word which means a way of proceeding, an approach which involves a particular method. It’s an investigation of the cave-in of a concrete overpass that killed five people and seriously injured six others in Laval, just north of Montreal in 2006.

Annabel and her colleagues create a performance which is a hybrid of a documentary film shoot, a journalistic investigation and participatory research. They have a big advantage in that they don’t represent a media organization and they don’t have to bring a camera when they go to meet people. They record audio, and then use excerpts of people’s statements or dialogue to construct their play. People don’t have their guards up the way they would with a more elaborate or more journalistic setup.

What we learn from the play is revealing, shocking and thought-provoking. To sum it all up, this is a tragedy for which no one takes responsibility. The engineers, the construction companies, the sub-contractors, the civil servants working for the Department of Transport – no one wants to fess up to any wrongdoing or negligence.

To Annabel and her co-conspirators this case is a metaphor for the general state of affairs in our society. A lot is going wrong, catastrophically wrong, but no one is responsible. This is an important point.

And, in addition, the play seems incredibly timely in the present Québec context. The action takes place in Laval – Quebec’s second largest city – where municipal corruption is just now the subject of frequent scandals. And it deals with the construction industry, at a moment where a majority of Quebecers would like to see an official inquiry into corruption and wrongdoings in this sector. (Radio-Canada’s excellent investigative show Enquête should be credited with most of the revelations on these subjects.)

In creating this play, Annabel and her colleagues decided to do more than investigate. They attempted to convince the surviving victims to go for a lawsuit. Ignoring the advice from high-profile lawyer Julius Grey not to push the victims, they try hard but fail, and (though one might disagree with what they are doing) this is an important and interesting part of the story.

In watching the excellent crew of actors perform the interaction between the victims and with the documentarians, I felt like I was completely reliving my experience with the innocent victims of organized crime who were the subject of my film Hellbent for Justice (‘Pendant que court l’Assassin’.)

In both cases, the victims were completely unprepared for the complex physical, psychological and legal realities they suddenly had to deal with. And in both cases they have to confront bureaucratic machineries which don’t take their real-life situation into account.

The mise en scène (designed by Sophie Vajda and André Perrier) is great, the actors are fantastic, and completely bilingual. Watching this play is a truly Montreal experience of the best kind.

The play is still on until Feb 26. I am asking Annabel Soutar a few questions and will publish them in the coming weeks.

Thanks to Tobi Elliott for her help with this blog.

‘Inside Disaster’: the Interactive Experience

Inside disaster screenshot-12

Last week I wrote about the terrific Inside Disaster series. And here, as promised, is my colleague Tobi Elliott’s assessment of the interactive game on the Inside Disaster web site, where you can choose to be a survivor, a relief worker, or a journalist. (Tobi, as you may have noticed, regularly helps with this blog.)

Greeted by a grim, ashy looking scene of destruction, I begin the “Inside the Haiti Earthquake” experience with a small amount of dread. The disclaimer reads: “Please note that this simulation contains graphic and disturbing imagery.”

Many of the images ARE disturbing. Graphic and heartwrenching. Bodies lying in heaps on the ground. Rioting for food, people getting trampled. Fires and tears and brokenness. Some clips are more vivid than others, but the grainy film texture sometimes adds to the chaos the experience is supposed to replicate. Music underscores many of the clips.

I chose to enter the experience as a journalist, of course, and my job was to create a two-minute feature story on the earthquake for a major network. After arriving in Haiti and travelling to Port-au-Prince, I was given the choice to go out into the streets and film, or stay in the safety of the Canadian Embassy. I chose to go out and get a story.

Following most segments, the player is presented with options to select from, choices that affect the outcome of your story. Some of the introductions/transitions to the next segment are almost hilarious, like a vibrating Blackberry cellphone with a text message from your producer after you file your first story.

Inside disaster screenshot-7
Your choices can lead to harsh, seemingly realistic outcomes, as I discovered when I lost my job after making a poor choice as a journalist! (I decided on a story angle too soon and couldn’t deliver… hmm…)

Generally, I found the experience quite moving because it brought me right into the reality of chaotic post-earthquake Haiti. I forgot sometimes that I was playing “a game.” What was onscreen could believably become what you might see with your own eyes. It became real. Your choices do seem to matter, even if just for a split second, “inside disaster.”

This simulation would probably appeal to almost any age, except for young children, and seems more designed to rouse empathy than to educate. The choices you make can lead to good and bad consequences, but that doesn’t seem to be the point of the experience. Instead, it’s about experiencing the chaos and trauma in a situation like the aftermath of Haiti’s earthquake… where every decision isn’t necessarily a good one, just the best one that could be made at the time.

Check it out here and see for yourself: www.insidedisaster.com/experience.

Inside disaster screenshot-5

Thanks to Tobi Elliott for her help with this blog. You can find her at her new website here.

‘Inside Disaster’ really delivers

Gedan's daughter, Cite Soleil, Haiti

It is a year since the devastating earthquake in Haiti, and just about every generalist television network has been broadcasting special programming. I found most of it to be competently done and well-meaning, but extremely predictable and pretty superficial.

This is the curse of television. Just wait till the 10th anniversary of September 11th later this year. Millions of dollars will be spent on reporters and television crews lining up to broadcast from Ground Zero, and I could tell you already what they will say. Meanwhile, how much coverage is there of the millions of people who have perished in Congo over the last five years?

Fortunately, for this earthquake anniversary, there were a few exceptions from the run-of-the-mill. Radio-Canada’s news channel RDI broadcast a documentary by Réal Barnabé and Dominique Morisette who had gone back to meet the people and places featured in Radio-Canada’s first ever reportage from Haiti (done by the grand dame of Quebec télévision journalism, Judith Jasmin). Pourquoi Haiti? became Pourquoi pas Haiti? (Why Not Haiti?) and it was interesting to see that some of today’s key players on the country’s political scene were already active back then.

Frontline (PBS) showed an interesting look at the policing situation in Port-au-Prince, where the criminals who escaped the crumbling prisons in the aftermath of the quake have taken refuge in the emergency tent camps where they are rebuilding their gangs and taking control.

But the best programs are broadcast on TVO: the series Inside Disaster, directed by Nadine Pequenza and produced by Andrea Nemtin and Ian Dunbar at PTV productions in Toronto. I already congratulated them on their sense of initiative a year ago and I am very happy to see that they have really delivered. The authors of the series have also wisely decided to look beyond the disaster towards the long-term challenges of reconstruction – we haven’t seen that part yet.

Paul Adlaf - sound
Shooting 'Inside Disaster'
Nadine's ear phone
Dir. Nadine Pequenza

This is terrific documentary work, not just news reporting. We are truly inside the biggest humanitarian relief effort ever, focusing on the Red Cross and some really great characters Jean-Pierre Taschereau who leads the huge team is just one of them – as they struggle against overwhelming odds to get water, food and medical help to the victims of the quake. You are really there with them, experiencing their challenges, difficulties and emotions.

The shooting and editing are excellent, and the website that accompanies the project is exemplary, giving you information about the earthquake, about ‘humanitarianism’ and emergency relief efforts, and about the film. The companion blog Haiti-today goes in depth into the reconstruction effort, and there is also an interactive component to the site, where you can play the role of a victim, a journalist or a relief worker. I asked Tobi Elliott who helps me with this blog to try it out. Her comments in a few days.

Watch TVO’s Inside Disaster Haiti online here.

Broadcast times:

The last two episodes of the three-part series continue until this Friday, with re-broadcasts listed below:

Part II: Relief
Thursday, January 13 at 12:01 AM ET

Part III: Recovery
Thursday, January 13 at 9:01 PM ET
& Friday, January 14 at 12:01 AM ET

TVO will then repeat the series in Prime Time on
three consecutive Wednesdays at 9 pm:

Wednesday, January 26 (ep 1)
Wednesday, February 2 (ep 2)
Wednesday, February 9 (ep 3)

SCN will be airing the series in Saskatchewan Sunday, Jan 16, 23 and 30 at 8:00pm & again at 10:00pm

Thanks to Tobi Elliott for her help with this blog.

Kevin Mcmahon looks to the future

MEADS: Medium
Concept shot of MEADS (Medium Extended Air Defense System), a program that aims to replace Patriot missiles in the United States, the older Hawk system in Germany, and Italy’s Nike Hercules missiles. From www.defenseindustrydaily.com.

You are probably familiar with the series 7 and Up by British filmmaker Michael Apted, who has been following fourteen individuals since 1964, filming them every seven years. Well, my colleagues Robbie Hart and Luc Côté have done a variation on that idea, with their film Turning 32. Sixteen years ago they released a series of portraits of 16-year-olds in third world countries. Now, their 16-years-later feature-length movie will play at the AMC Cinema in Montreal Starting Sept. 17th. Going to see docs on the big screen is the best way to ensure they continue to be shown!

On the heels of Waterlife flows from one medium to the next, about the relationship between Kevin McMahon’s Waterlife online project and his film, here is another installment of the interview with Kevin, written by my young colleague Tobi Elliott.

Looking forward… as a filmmaker trying to grapple with new forms of storytelling, what excites you or – possibly – depresses you about the possibilities offered by interactive and online documentaries?

Well nothing depresses me about it. In a way, I’ve been waiting for this my whole career. What interests me are environmental questions, questions about the way society works, questions that deal with larger systems. And it’s always been a challenge to deal with those questions in linear format without falling back on really conventional tropes that I don’t think are particularly successful anymore. **

In interactive media, there are still enormous limitations of all kinds, but I think we’re seeing the beginning of something incredibly interesting and exciting. What excites is the possibility of two things: one, creating realistic, virtual environments. The other thing, which Waterlife doesn’t do but which we’ll see more and more in the future, is the possibility of beehive environments that are essentially constructed by the users. Talk to Katerina Cizek about that.

Kevin McMahon

There are two ways you can go: you can construct a large, aesthetic experience, sort of like you do with feature film, or you can construct a beautiful aesthetic experience that is more like a building that users or contributors can come to and build or decorate. Like the NFB’s Highrise, where they’ve built all the ‘girders’ in the building and said, ‘This is what this building can do, but you, the user, are going to contribute this wall, and that user will contribute a window.’ It’s a fascinating experiment. Both those possibilities excite me.

They’re different approaches to basically the same thing, which is to create not just a two-dimensional thing that the viewer passes and looks at, but rather to create an aesthetic the user can move around in. I find that totally fascinating.

What are you working on right now?

We’re working on a big project right now that’s only going to be online, called Planet Zero. The subject is nuclear weapons.

I’ve been working on the subject for thirty years, and have written a book and done two films about it, none of which were satisfactory. I’m hoping that as we’re approaching it again as an online project, that maybe we’ll be able to solve some of the deficiencies of its earlier forms.

As you’re looking at something like nuclear weapons, that’s an enormously complex, physical problem. You’ve got these bombs sitting all over the world. It’s one of those things that are so big and complicated and hidden, that linear media does a really shitty job of being able to penetrate and convey it. Books, which are non-linear, do try, but they aren’t able to bring any emotional content to the subject. Novels do, but technical books have a real struggle…. You’re always tossing and turning, trying to find a voice that can express something that’s complicated and realistic, and do it with passion.

With non-linear media, we’re attempting to create this website – well first of all we’re trying to put the money together to do it – but the idea is to recreate an environment as best as we can, with the resources we’ll have, of a nuclear world. In the first iteration, it’ll be like Waterlife the website, and a construction, like a documentary.

So that’s exciting to me, it’s a new way to approach an old subject in the context where old approaches have not worked very well. Nuclear weapons are something that average folks don’t have much information about, and specialists do. We are trying to think of ways to make it extensible.

** To read more on this perspective, see Kevin’s article, ‘AERIAL PERSPECTIVE: A Window on Reality for the 21st Century’ printed in POV magazine, Spring/Summer 2007 issue, No. 66.

Waterlife flows from one medium to the next

Screen shot 2010-09-03 at 3.18.49 PM

This blog post was written by my young colleague Tobi Elliott, who is helping me with several projects right now.

One of Canada’s recent successes in the interactive documentary universe is waterlife.nfb.ca, a site based on director Kevin McMahon’s documentary film of the same name. Waterlife the film (Special Jury Prize for a Canadian Feature at Hot Docs 2009) is a moving epic about the Great Lakes and the story of water itself: how it affects every part of our lives, and how it – and we with it – are under assault.

Its own creative endeavor, Waterlife the website is a co-production between Primitive Entertainment and the NFB. It picked up a coveted Webby award last April for Online Film and Video/Documentary, as well as the 2010 SXSW Interactive Activism Award, the BaKaFORUM City of Karlsruhe Prize for Multimedia, and a Canadian New Media Award for Best Cross Platform project in 2009.

Waterlife the website is considered a success, but how do you measure success in the online universe? Is it in page views, critical response, viewer comments, or what?

That is a very difficult question and I don’t really know what the answer is. Waterlife is considered a success probably for two reasons. One, there is a lot of public interest in it, and a lot of visits – about 600,000 visits – since it first went online a year ago.

Back when people like Magnus [Isacsson] and I started in documentary about 20 years ago, a CBC documentary would typically get 500 – 600,000 viewers, no problem. But that’s not true anymore. Although the film Waterlife has also been quite a success – it still screens almost weekly – it will not have reached a cumulative audience anywhere near 600,000. So that’s one measure: how many people come see it.

Another measure is how long they stay. In the case of Waterlife the website, when it first launched the average stay was seven minutes, but many users apparently stay around twenty minutes. To the web folks, this is a mark of success, but it does make you wonder about the quality of the experience vis a vis film.

It’s always difficult to measure, and it’s the same for a film: do you measure by critical success, by the fact that it really moves people and a lot of people go see it? By commercial success? All of these measures are relative and valid.

Kevin McMahon Waterlife

You write about Marshall McLuhen and his view that “the media’s touch is physical, and the feelings they provoke are real.” ** How do you think each medium – interactive media and feature film – feels to the audience? How do they perceive or react emotionally to them?

Broadly speaking, the film is really an entirely emotional experience. Some would say it’s more arty, or more of an intellectual film in some ways, but having been in many audiences, I’ve seen that the way they react to the film is really emotional. It’s a movie – it’s got music and pictures and people, and [the audience] reacts to the emotions it evokes in them.

I would say the website has an emotional component but also an intellectual one. The interesting thing about the web is that it’s engaging both sides of the brain all the time. It’s got pictures and sound, but it also has text. One of the advances in the Waterlife website is it relies much less on text than other websites do, but it still has text. That keeps that linear part of your brain engaged all the time.

Do you think each type of media appeals to different people?

I think they probably appeal to different people, because of the generational aspect, but they also appeal to people in different ways.

How did you combine the different platforms in terms of design, information-sharing, content? How did that work out?

The way they work together is that people who see the film and appreciate it, particularly anyone in an educational context such as teachers, students, are driven to the website by the film. There are two websites, and Ourwaterlife.com was set up to link people with activist organizations in their community, like Great Lakes United, Lake Ontario Waterkeeper, where they can go to take action. Waterlife.nfb.ca has that, but it’s kind of buried.

The film sends people to the website but I don’t think the website sends people to the film. It’s counterintuitive, the opposite of what we think websites are about. Websites were initially set up and used for film and television as advertising. Like flyers for your film.

But I don’t think that’s how they work, and in Waterlife’s case that’s not how it works at all… partly because the website is accessible to everyone in the world and the film’s available for screenings only in Canada and the U.S. It’s not as available as films in your living room that you can dial up via a website. We also know this because a lot of the feedback on Waterlife.nfb.ca comes from around the world and from places where the film is not showing.

What they share is their aesthetic, and they share a lot in their content. There’s no way of tracking the traffic between them but my sense of it is, there’s not a lot.

We went into this project thinking the website should be an adjunct and that it should drive people to the film. But Rob McLaughlin (Director of digital content and strategy for the NFB English Program), the driving force behind the website, said, “They are two different things. They share assets, there will be some back and forth traffic, but you have to approach it as two different things.” He was completely right and has proven to be over time.

** Refers to Kevin’s article AERIAL PERSPECTIVE: A Window on Reality for the 21st Century,” printed in POV magazine, Spring/Summer 2007 issue, No. 66.)

————

Part Two of the interview to come: Kevin McMahon looks to the future.

GDP/PIB: A conversation with Hélène Choquette

PIB/GDP: 'Une chance qu'il y a des mots'
Photo credit: Hélène Choquette

This week: following my previous post on the NFB‘s multi-platform project GDP: Measuring the Human Side of the Canadian Economic Crisis, here is an interview with Hélène Choquette, the project’s director and coordinator.

The above image is pulled from the excellent photo essay, Poetic Justice one of Hélène’s own compositions – featuring the young slam poet Marjolaine Beauchamp.

1. What was the most difficult part or challenge of making this project? The bilingual nature, traversing the “solitudes”, working from coast to coast, or something else?

Bringing together a group of documentarians and photographers from one end of the country to the other for a common year-long project was a challenge in itself. We spent a week together in June 2009: I presented the goals of the project and each and every one could share their own creative point of view.

Over and above bilingualism, GDP puts forth universal stories of humanity. When we look at the origin of the movies Quebecquers are viewing, we can see they are not only viewing movies from here, and it is the same thing is all the provinces. The resilience and demands that a human being must confront when faced with crisis situations are surely universal.

We also discovered that web users recognize themselves in the stories of those people who work in sectors or industries similar to theirs, without regard for geographic location. As a result, the fact that the site is bilingual permits us to counter this linguistic divide.

I also want to share with you the qualities of the Web that we’ve since discovered. We have no restrictions of length, or number of episodes, or the pacing of putting them on line. We are simply following the natural rhythm of our stories, which is frankly marvellous.

Hélène Choquette - PIB/GDP
Photo Crédit : Marc-André Grenier

2. I find the quality of the small films or reports very uneven. What do you think? Reasons?

GDP is a pilot project where trial and error have their place. When it’s a question of the creative process, this notion of trial and error is precious. It’s what challenged Fernand Dansereau when he discovered GDP last December. This possibility of playing outside a safe and secure box.

We are asking our directors to be one-man-orchestras. They accomplish all at the same time camerawork, sound recording and obviously, the directing. It’s extremely demanding. They are not all on the same level technically but despite some limitations, all end up delving into the universe of their protagonist.

Of course, some stories are stronger, but all have their relevance. Unequal quality is unfortunately often the lot of these group productions. However, because we’re on the Web, the user has the choice to watch only what interests them.

It’s astonishing to see that the most viewed films and essays are not always the best from a technical point or view, and even in terms of narration. That’s where we have a new gift from the Web. The user chooses what he or she pleases. As a documentarian, I would like to cause them to be interested in one story more than another, but I no longer have that privilege with this virtual audience.

3. There are some photographic essays that are particularly well done, do you agree? Reasons?

The photographic essays had as their first goal to document the impacts of the crisis in the far-flung regions. They are small, unique works, and so are a lot easier to watch as one-offs, while the narrative arc of the films evolved over one year, and take their meaning in time. They are a powerful artistic force.

The web effectively gives a new breath to certain mediums that have preceded it. Photography thus finds a new momentum, and the photographers have a chance to push their creativity more to the fore, and that is wonderful to me.

Thanks to Tobi Elliott for her help with this post.

PIB/GDP: Une conversation avec Hélène Choquette

PIB/GDP: 'Une chance qu'il y a des mots'

An English version of this blog post will follow shortly, with thanks to Tobi Elliott.

Cette semaine: suite à mon petit texte sur le projet multi-plateforme PIB: L’indice humain de la crise économique canadienne de l’ONF, voici une entrevue avec Hélène Choquette, la réalisatrice-coordinatrice du projet.

L’image ci-dessus est tiré de l’excellent photo-essai “Une chance qu’il y a les mots,” qui a comme sujet la jeune slammeuse Marjolaine Beauchamp. C’est une des composantes du projet PIB que Hélène a réalise elle-même.

1. Quelle a été la plus grande difficulté, le plus grand défi du projet PIB? Faire ça bilingue, à travers les solitudes, “coast to coast”? Ou d’autres choses?

Constituer une équipe de documentaristes et de photographes d’un bout à l’autre du pays autour d’un projet commun pendant un an était un défis en soi. Nous avons passé une semaine ensemble en juin 2009 où je leur ai présenté les bases du projet et où tous et chacun a pu partager son point de vu créatif.

Au-delà du bilinguisme, PIB propose des histoires humaines universelles. Quand on regarde la provenance des visionnages, les Québécois ne regardent pas que les films québécois et ainsi en est-il dans toutes les provinces. La résilience et les autres forces dont un humain doit faire preuve lorsque confronté à des situations de crise sont assurément universelles.

Nous avons également constaté que les internautes se reconnaissent dans les récits de gens qui travaillent dans des secteurs d’activité similaires au leur sans égard à la location géographique. En fait, le fait que le site soit bilingue, nous a permis de contrer cet écart linguistique.

J’ai aussi envie de te faire part des qualités du Web que nous avons découvert. Nous n’avons aucune restriction de durée, de nombre d’épisodes ou de cadence de mise en ligne. Nous suivons simplement le rythme naturel de nos histoires et ça c’est franchement merveilleux.

Hélène Choquette - PIB/GDP
Photo Crédit : Marc-André Grenier

2. Je trouve la qualité des petits films ou reportages très inégale, qu’en penses-tu? Raisons?

PIB est un projet pilote où essai et erreur ont une place. Quand il est question de processus créatif, cette notion d’essai/erreur est précieuse. C’est d’ailleurs ce qui a interpelé Fernand Dansereau lorsqu’il a découvert PIB en décembre dernier. Cette possibilité de jouer en dehors d’un cadre établit et sécuritaire.

On demande aux réalisateurs d’être homme-orchestre. Ils font à la fois leur caméra, leur prise de son et évidemment, la réalisation. C’est extrêmement exigeant. Certains sont plus forts techniquement, mais malgré ces limitations techniques, tous parviennent à pénétrer dans l’univers de leur protagoniste.

Bien sur, certaines histoires sont plus fortes, mais toutes ont une pertinence. Ce constat d’inégalité est malheureusement souvent le lot des oeuvres chorales. Cependant comme nous sommes sur le Web, l’internaute a le choix de regarder uniquement ce qui l’intéresse.

C’est étonnant de voir que les films et les essais les plus visionnés ne sont pas toujours les meilleurs d’un point vue technique et même narratif. C’est là une nouvelle donne du Web. L’internaute choisi ce qui lui plaît. Comme documentariste, j’aimerais les inciter à s’intéresser à une histoire plus qu’à une autre, mais je n’ai plus cet aval sur ce public virtuel.

3. Il y a des essais photo qui sont particulièrement réussis, es-tu d’accord? Raisons?

Les essais photographiques avaient pour but premier de documenter les impacts de la crise en régions éloignées. Ce sont des petites oeuvres uniques, donc beaucoup plus faciles à regarder à la pièce alors que la courbe narrative des films évolue pendant un an et prenne leur sens dans le temps. Ils ont une formidable force artistique.

Le web donne effectivement un souffle nouveau à certains médiums qui l’on précédé. La photographie retrouve un souffle nouveau, les photographes ont la chance de pousser leur créativité plus avant et cela m’enchante.

Merci à Tobi Elliott pour l’aide avec le blog.

The crisis ad marem usque ad marem: the NFB’s GDP web docs

PIB/GDP: 'Famille à la casse'
Copyright: ONF/NFB

This week at Sunny Side of the Doc at La Rochelle, the NFB and Arte.tv France announced a collaboration for the production of webdocumentaries. They will produce one documentary per year, with a budget of $100,000 CDN. The two companies already have considerable experience with webdocs.

For almost a year, the NFB has hosted a major online project, GDP – Measuring the Human Side of the Canadian Economic Crisis. The NFB’s director of French programming, Monique Simard, a longtime union leader and former politician known for her involvement with social issues, took the initiative for this endeavor.

From the beginning, her intuition was that the economic crisis would not be a passing thing, but would profoundly affect the lives and directions of many people. The GDP project allowed many filmmakers and photographers across the country to follow people affected by the crisis. I haven’t had a chance to look at all of the stories, naturally, but here are some initial impressions.

First off, the site’s architecture is impressive, as is its design. We have access to stories told in both official languages, with subtitles as needed. You can watch multiple episodes in the order of choice. You can comment, share, and use social media tools to talk about the stories.

As for the content, I found it very uneven generally. There are some excellent stories, such as “Auto-workers at a crossroads“, the story of a couple who both work in the auto industry in Oshawa, Brian and Cassandra, who lose their jobs and must fight to survive. It’s very much in the documentary tradition, without the dramatic structure but in exchange having the advantage of following their story over time in several episodes.

The same goes for a report on an immigrant family who are staying in a motel in British Columbia – we enter in their universe, we understand the challenges they have to surmount, and their emotions. Occasionally a series starts well, like the story of a group of young women in the West who are trying to get out of debt – but at a certain point nothing much happens, the story isn’t going anywhere. In addition there are some stories that don’t reveal much of anything, neither a strong human story, nor strong production values.

Daniel Poulin / St-George de Beauce
Copyright: ONF / Photo : Renaud Philippe

One of the positive surprises of this project is the quality of the photo essays, produced notably by Renaud Philippe in Quebec, Brian Howell in Vancouver, Goh Irotomo and Craig Chivers in Toronto. The above photo is taken from one of Renaud Philippe’s photo essays titled “Willpower is power.”

Next week: a conversation with Hélène Choquette, director and coordinator of GDP/PIB.

Thanks to Tobi Elliott pour her help with this post.

La crise économique ad marem usque ad marem: PIB

PIB/GDP: 'Famille à la casse'
Copyright: ONF/NFB

Cette semaine à Sunny Side of the Doc à La Rochelle, l’ONF et ARTE France ont annoncé une collaboration pour la production de documentaires pour le web. Ils produiront un documentaire par année, avec un budget de 100.000 $ Can. Les deux ont déjà une expérience considérable avec les webdocs.

Depuis presque un an déjà, l’ONF a mis en ligne un projet majeur, PIB – L’indice humain de la crise économique Canadienne. La Directrice du programme français, Monique Simard, une ancienne dirigeante syndicale et politicienne dont les préoccupations sociales sont bien connues, a pris l’initiative de cette expérience.

Son intuition de départ: la crise économique ne serait pas passagère, et elle serait assez profonde pour changer le cours de la vie de beaucoup de gens. Le projet PIB a permis à beaucoup de cinéastes et photographes à travers le pays de suivre des personnes affectées par la crise. Je n’ai pas regardé tout, évidemment, mais voici quelques impressions.

D’abord, l’architecture du site est impressionnante, le design aussi. On a accès aux histoires racontées dans les deux langues officielles, avec sous-titres au besoin. On peut voir des épisodes multiples dans l’ordre qu’on choisit. On peut commenter, partager, utiliser les médias sociaux pour en parler.

Pour le contenu, je l’ai trouvé très inégal. Il y a d’excellentes histoires, comme ‘Famille à la Casse’, l’histoire d’un couple formé d’un travailleur et une travailleuse de l’automobile, Brian et Cassandra, qui perdent leurs emplois et doivent se battre pour survivre. C’est très dans la tradition du documentaire, sans la structure dramatique mais en échange l’avantage du suivi de l’histoire à travers les épisodes.

La même chose vaut pour un reportage sur une famille immigrée qui tient un motel en Colombie Britannique – on rentre dans leur univers, on comprend les défis qu’il doivent relever et leurs émotions. Parfois une série commence bien, comme cette histoire d’un groupe de jeunes femmes dans l’Ouest qui tentent de sortir de leur endettement – mais à un moment donné il ne se passe plus grand chose, on tourne en rond et on fait du remplissage. Et puis, il y a malheureusement des histoires qui ne donnent pas grande chose, ni côté humain ni côté production.

Daniel Poulin / St-George de Beauce
Copyright: ONF / Photo : Renaud Philippe

Une des plus belles surprises de ce projet est la qualité des reportages photo, réalisés notamment par Renaud Philippe à Québec, Brian Howell à Vancouver, Goh Irotomo et Craig Chivers à Toronto. La photo ci-haut est tirée justemment d’un reportage de Renaud Philippe intitulé ‘Le vouloir c’est le pouvoir’.

La semaine prochaine: une conversation avec Hélène Choquette, la réalisatrice qui coordonne PIB/GDP.

Merci à Tobi Elliott pour son aide avec ce blog.