Arrival to Melgaço

Meeting of participants and visit to the exhibitions.

Exhibition oppening

Cinema Português - Tribute to Jean-Loup Passek

Oppening of the exhibitions

Plano Frontal

Premiere of documentaries directed during

Plano Frontal Film Residency

Course opening

Manoel Batista Pombal – Mayor of Melgaço

Carlos Eduardo Viana - President of AO NORTE

José da Silva Ribeiro – Off Screen - Summer Course Organization

Participatory Audiovisual Methodologies

Point

Participatory audiovisual utilises ethnography as part of a strategy of reappropriation and cultural control using new communication technologies and the use of photography, video, social networks and digital platforms as main channels of expression. As a narrative resource, it has been used by teams of ethnically and culturally differentiated filmmakers, who use the ethnography of their own epistemic field and provide the audiovisual with a democratic and liberating character that seeks to promote spaces and experiences of an autonomous nature. The foundation of participatory audiovisual ethnography is found in the proposal of Participatory Action Research (IAP) by Orlando Fals Borda (1973 and 1999), by Paulo Freire (1970, 1992), the management of cultural control by Guillermo Bonfil (1987) and Photovoice (Wang and Burris, 1997), which promote processes of symmetrical reciprocity between researchers and investigators to overcome academic arrogance and assume commitments of solidarity, social change and the production of interknowledge that is expressed through new and/or different intercultural narratives. The participatory audiovisual modifies the proposal of participatory action research (IAP) by suggesting a methodological path of action-reflection- action to give the central role to individuals and the collectives themselves that, through a self- exploration of their sociocultural condition through their own images, sounds and objects, are able to identify problems, reflect on the causes and propose solutions. Images and sounds can provide interpretations and social narratives with meanings not censored by official languages ​​and offer alternative perspectives for a critical understanding of the reality hegemonically textualized by colonization processes (Rivera Cusicanqui 2010:19-21).

Counterpoint

Screening films running for the

Jean-Loup Passek award

Anthropologist's Gaze / Documentarist's Gaze

Point

Ethnographic film, visual anthropology and documentary have always coexisted and questioned each other in multiple ways and in the multiplicity of methodologies used. At the heart of it is observation, the construction of the gaze in anthropology and cinema. In cinema, as Tarkovsky says in Sculpting Time, “the cinematographic image is essentially the observation of a phenomenon that develops in time”, so is this not also the central question of anthropology and the arts? Herein lies the question that we try to intersect and confront the view of the anthropologist and the filmmaker.

Counterpoint

Screening films running for the

Jean-Loup Passek award

Community projects
Affectionate mapping and community gatherings

Cultural work with communities often involves the application of methods and techniques that are similar, analogous or even directly borrowed from those developed in research in social sciences and anthropology. The intersection of these works with the audiovisual record, photography and documentary collection creates a platform from which it is possible to instigate critical and profound reflections on culture, politics and affectionate networks. What are the strategies used for approaching the community? What is the positioning of the agents in the field, and how do they move between the different roles of investigation, artistic creation and curatorship?

Photography exhibition oppening

A landscape called Home

by João Gigante

Methodological Interdisciplinarity of Contemporary Documentary Photography and Visual Anthropology: Memory and Place.

Olívia Marques da Silva - ESMAD

Who Are We Here?

Round-table

Opening of the exhibition

Who Are We Here? on the plateau

Who Are We Here?

Film screening

Mulheres da Raia

Diana Gonçalves | Portugal, 2009, 42’

Attended by the director and film participants

Film archives, memories and autoetnography

Point

Film and photograph collections are fragments of memories rooted in the weight of years of experience with each other. The documentaries made from these archives seek to bring memories and representations to a general audience, mediated by the editing and narration of an autoethonography. The ethnographic situations experienced and the fieldwork leave their context and are mediated by an "updated" film narrative. The viewer can see, feel and imagine the realities about others in the ethnographic archives. Investigators can relive these experiences of relating to others by retelling the memories provoked by the images from the collections. Films made from archives offer a new generation the opportunity to inhabit experiences and expand the relationship between filmic memory, representation and narrative. Sometimes, half a century of fieldwork life is summed up in a 60-minute film where each word brings together sensations, memories and representations, narrated in the first person. It is proposed to deepen a debate on issues related to contemporary ethnographic situations, decoloniality, ethnographic collections and the relations of memory and representation today. Also to debate aspects of the restitution of knowledge that has been accumulated over decades? What is expected from the reproduction of existing traditions and customs in the archives, when bringing them to the big screen? How can first-person narrative take viewers on a journey through time? What ethical issues do these files raise?

Counterpoint

Screening films running for the

Jean-Loup Passek award

Participation in Hop to Melgaço

In the sixties thousands of Portuguese people immigrated to France "on the hop", such was called the clandestine journey of those who sought a new destination. On the 06^th and 07^th August we propose that you take, not a bumpy ride like the one from that era, but a leap to Melgaço and share with us the programming selected as part of MDOC.