SIEF2015 12th Congress: Zagreb, Croatia.
21-25 June 2015
Date and Start Time 22 June, 2015 at 10:30
SIEF2015 invites documentary film submissions to be screened during its 12th International Congress that address topics such as heritage, cultural imaginary, everyday practices and realities, future of humanities, sustainable development and innovation and change to be interpreted in the broadest sense. We also encourage innovative methodological and technological approaches in visualizing culture in line with new media arts, digital ethnographies and experimental video.
We invite submissions that address topics such as heritage, cultural imaginary, everyday practices and realities, future of humanities, sustainable development and innovation and change to be interpreted in the broadest sense. We also encourage innovative methodological and technological approaches in visualizing culture in line with new media arts, digital ethnographies and experimental video.
Filming realities, imagining utopias: potential of new media and digital arts in humanities; Heritage on the Screen: Utopias in Making; Future of the Past: Cultural heritage and sustainable development
Filmmakers and other staff connected to the production are encouraged to attend for the discussion that will follow each screening.
To propose a film please click on the 'Propose a Paper' link.; in the "Short Abstract" please provide the billing of the film; in the "Long Abstract" please include: Director, Runtime in minutes, Year of production, Location, Production/distribution
Films that are not in English must be subtitled in English.
Submissions must be sent by post to:
Tanja Bukovcan and Tamara Nikolic Deric
Odsjek za etnologiju i kulturnu antropologiju
Ivana Lucica 3
10 000 Zagreb
Online submissions can be sent to:
Dr.sc. Tanja Bukovčan tbukovcan(at)ffzg.hr and Tamara Nikolić Đerić tamara(at)emi.hr
Submissions must be received before 14th January 2015. Preview Copies must be in DVD format but the Screening Copy can be in BluRay or DVD.
This panel is closed to new paper proposals.
"Memory Walk Sarajevo - Istočno-Sarajevo" - Short film clips on local monuments and histories by young people from Bosnia and Herzegovina
The film clips “Memory Walk Sarajevo and Istočno–Sarajevo” depict the discovery journey of young Bosnians of contested monuments in Bosnia and Herzegovina. Research and interviews with passers-by form the basis of these film clips on monuments related to the Second World War and the Bosnian War in the 1990s.
During an educational film workshop, "Memory Walk", young Bosnians (15-18 years old) from Sarajevo and Istočno-Sarajevo explored together the local public culture of remembrance in the two neighboring cities. Three film clips were created depicting monuments connected to the Second World War and the Bosnian War in the 1990s. The young participants presented through their own voices the message and meaning of the monument, after doing research and interviewing passers-by on the streets. Under the guidance of professional trainers and editors, they filmed their discovery journey and edited the footage into three short film clips. The workshop used documentary film as an innovative method to let youngsters reflect on their conflicted history and their own responsibility towards the wartime past. It aimed to show that the past does not belong to the old and the powerful alone - it belongs to these young people as well and this workshop encouraged them to take up their rights as citizens to explore, to question and to (re)shape the stories behind these monuments. The film clips were screened at the Sarajevo Film Festival at Art Cinema Kriterion in 2013.
Film clips: Sarajevo Roses (03:55) - Vraca Memorial Park (06:55) - Milan Simovic Monument (4:24)
Organized by: Anne Frank House and Youth Initiative for Human Rights BiH
Year of production: 2013
Location: Pale and Sarajevo, Bosnia and Herzegovina
Funding: Humanity in Action, the German Embassy of BiH, the Austrian Embassy of BiH, the Italian Embassy of BiH and United Nations Volunteers
Production: Studio Lisica
Descending with Angels: Islamic Exorcism or Psychotropic Medication?
"Descending with Angels" explores two highly different solutions to the same problem: namely Danish Muslims who are possessed by invisible spirits, called jinn.
Ethnographic documentary, 75 min. Received the “Special Student Film Award" at Göttingen International Ethnographic Film Festival (May 2014).
Ethnographic documentary, 75 min. Awarded with the "Special Student Film Award" at the Göttingen International Ethnographic Film Festival (May 2014).
A Palestinian refugee living in the city of Aarhus has been committed to psychiatric treatment after a severe case of jinn possession which caused him to destroy the interior of a mosque, crash several cars, and insult a number of people. He sees no point in psychotropic medication since his illness has already been treated with Quranic incantations. A psychiatrist and nurse try to understand his point of view but find that even further medication is needed. In the meantime a local imam battles a stubborn jinn-spirit of Iraqi origin and tries to explain the Muslims of Aarhus that they should stop worrying so much about jinn, magic, and other mundane affairs since nothing can harm anyone except by the permission of God. The film compares two systems of treatment that despite vast differences both share a view of healing as operating through submission of faith to an external non-human agency—namely God or biomedicine.
Ethnographic documentary, 75 min. Received the "Special Student Film Award" at Göttingen International Ethnographic Film Festival (May 2014).
The Documentary tells the migration story of a nomadic family herding five hundred goats.
The Documentary tells the migration story of a nomadic family (known to be from the "Sarıkeçili tribe"),herding 500 goats in Southern Turkey. Through an intimate portrait of the family, the documentary conveys human-environmental relationships in seek of how the family's traditional local knowledge , the process of the migration and their living life style in general benefits to the biodiversity of the region. A research team consisting of an anthropologist, ethno botanist and environmental activist also share their thoughts and observations during the migration. The film intends to raise awareness and open up discussion on the protection and conservation of nomadic people's livelihood rights and the sustainability issues within the region.
Directed & Filmed & Edited by: Eda Elif Tibet
Cast: Saliha Gök, Ali Gök, Hüseyin Gök, Mehmet Gök, Nazlı Gök, Hürü Gök, Meryem Gök,Melek Gök, İbrahim Durmaz, Banu Aydınoğlugil, Mithat Marul, Büşra Şahin.
Hip-Hop, mi desahogo (Hip-Hop, my release)
Can rap be a way out of prison? Three inmates at Distrital prison in Bogota, Colombia show how Hip-Hop enables them to protest and share their experience in life. This film tells their story and the impact Hip-Hop has on them.
Director: Simon Rasing
Running time: 22 minutes
Year of production: 2013
Location of production: UK & Colombia
Production/Distribution: Simon Rasing / Granada Centre for Visual Anthropology
Is democracy in the slum possible? Two women are struggling through the thicket of the urban jungle of Jakarta, fighting for a real participation of the poorest in the still young democracy of the world's largest islamic country.
ORF Film/Television Agreement, BKA, Academy of Media Arts Cologne (KHM)
Director: Ascan Breuer
Runtime: 87 min
Year of production: 2013
Production: Golden Girls Filmproduktion & Filmservices GmbH, Vienna
Distribution: sixpackfilm, Vienna
Mill Stories: Remembering Sparrows Point Steel Mill
Mill Stories: Remembering Sparrows Point Steel Mill
Directors: William Shewbridge, Michelle Stefano
Runtime in minutes: 36
Year of production: 2015
Location: Baltimore, MD
After 125 years of operation, the Sparrows Point Steel Mill in Baltimore, Maryland closed forever in 2012. "Mill Stories" presents a collection of personal stories based on over 30 ethnographic interviews collected at the time on the mill's closing. The documentary examines the importance of the mill from the perspectives of former workers while connecting these distinctive experiences to the larger narrative of American industrial boom and bust. These memories and stories are framed as living heritage. It is the intangible that lives on in the hearts and minds of those who know it best.
Por la verea. Routes of transhumance in Andalusia
With: Pedro and Tomás Pérez Romero, Gabriel Mercado Gil, Ezequiel Moreno Rubio, Emilio Molero López Barájas
Director: Dario Ranocchiari
Producers: Ángel Acuña Delgado and Dario Ranocchiari
Location: Andalusia (Jaén)
Production: Pepperepè! Production; Social Anthropology Department, Universidad de Granada (Spain)
Pedro Pérez, his brother Tomás and two more shepherds guide their flock from Sierra Morena to Sierra de Segura, in the province of Jaén (Andalusia). It's the transhumance, the seasonal migration of cattle, which characterized for centuries European sheep farming and which a handful of stubborn shepherds (progressively fewer) don't resign. This film documents part of the springtime route of Pérez brothers, whose testimony given «por la verea» («on the route») reveals to us the anthropological and ecological reasons to continue this practice.
Editing: Lova Randrianasolo
Cinematography: Marta Kucza, Tristan Galand, Philippe Orlinski
Sound mixing & engineering: Loïc Villiot
Color Correction: Tristan Galand
Directed by Marta Kucza
Runtime: 22 minutes
Red Athens shows the limits of the past inside the present. By the documental scenes and sounds, this short film was thought and edited to show the result of Greek crises today.
Director and conception: Sonia Guggisberg
Images and sounds: Athens, Greece
Edited in Brazil by Renata Moraes and Sonia Guggisberg
Time: 8.20 minutes
In a once-remote Aboriginal community in northern Australia, personalised ringtones on mobile phones reveal surprisingly rich insights into lives and relationships.
In a world where everyone has a mobile phone, a personalised ringtone says a lot about you.
Welcome to a once-remote Aboriginal community in northern Australia, where individual ringtones reveal rich insights into lives and relationships.
From animal calls and birdsong to 80s hip hop artists and gospel tunes, a Yolngu ringtone always comes with a great story. It might be the music a young woman dances to in a city nightclub, or a clan song invoking memories of ancestors and country.
Yolngu people are renowned as first-rate storytellers with a keen sense of humour. In this collaboratively-made film, various individuals talk directly to camera as they reveal the perils of their new connectivity.
It's all too familiar as they explain how easily mobiles get lost or broken and how they bring benefits as well as intrusions and demands.
A beautiful, funny and surprising film about the place of mobile phones in a contemporary Australian indigenous community.
The Kilt & the Kofte
An artist couple with a strong passion for respectively Scottish and Sami culture run a spectacular festival where their passions are lived, making a peculiar mixture of arts and muscles, and Sami and Scottish folklore, in a small Sea Sami village in North Norway.
Directors: Beate Bursta & Kristin Nicolaysen
Runtime in minutes: 44 min.
Year of Production: 2014
Location: North Norway
Production/distribution: University of Tromsoe and Nicolaysen Film AS/Beate Bursta, University of Tromsoe, email@example.com
The film is made under the umbrella of a research project focusing representations of the region of North Norway through film, media and culture industries in a post-colonial epoch.
An experimental film on the topic of Polish identity caught up in the polarised narratives of nationalism and religion. Dipping in and out of bombastic political commemorations and the elusive remains of multiculturalism, we ask, what alternatives can we construct?
The events surrounding the Smolensk catastrophe saw the polish ex-president Kaczynski equated with Jesus, and Poland became the blood-sodden ground of the forgotten innocent howling for revenge! Although this tired image of Poland is something that sickens most young Polish people today, the dramatic events of the nation's past have been drummed into it's subconscious to such a degree and with such poetical furore, that an alternative is very difficult to construct. "The Others" takes the footage and expands or displaces it somewhat across three screens. The subtitles linger a little longer than the images, the screens switch on, change, move, and although a traditional narrative is still kept within the film, the triptych highlights not only the fictional nature of the documentary, but of national identity in general.
Rather than facilitating the desired return of a "true" national past, the re-enactment of myths and narratives through poetically-infused remembrance days, paradoxically highlights the fictitious nature of a nation's identity. As such - in this constant process of self-fictionalisation, in a pendulum between the East and West: Can Poland's attempt at self-definition be seen as emancipatory reminder, that the 19th century Western concept of "nation" and the East-West hierarchies on which the country currently depends on, are based on fiction? In this light, can new narratives be created? The film ends with two groups holding flags. The three little pigs, blank faced, bereft of a stage script, wait for the story to begin...
The Sacred in the Secular
Camera, sound, editing: Karin Leivategija
Superivision: Dr. Andrew Irving
Editorial advice: Andy Lawrence, Angela Torresan, Lorenzo Ferrarini
Director: Karin Leivategija
Runtime in minutes: 26
Year of production: 2014
Production/distribution: The University of Manchester, UK.
TITLE: The Sacred in the Secular
TAGLINE: The Absolute is not only at church, the Absolute is everywhere.
My film explores the relationship between secular and religious life. The main protagonist, Toomas Erikson, is an Estonian Orthodox clergyman who as well is deeply committed to music. He expresses that commitment through being an Ethno and Reggae music DJ and working as a presenter at radio. It is a combination that comes across as surprising and raises questions even in a largely secular country like Estonia.The secular world tends to look at Christianity through a prism of stereotypes. Due to the conservative history of the church it is often believed that there is no place for liberal expression in religious life. During my research I set out to explore whether the gap between religious and secular life is as wide as it is typically assumed.
"Ethno and Reggae music generally invites people to give meaning to the world in a very amicable way. I could say that it is the same thing that I do at church. Just through different symbols. Because the Absolute is not only at church, the Absolute is everywhere." - Toomas Erikson
Tinghir Jerusalem echoes from de Mellah
I was born and raised in France believing that every Berber was Muslim. But in Tinghir, my hometown in the Moroccan Atlas, the tales of my grandfathers made me realize some other Berbers were in fact Jewish. However, in the early 60s, despite more than 2000 years of shared history, the Jewish people left the Atlas, the entire community departed. I decided to embrace this memory with the generation who still remembers their presence. One thing leading to another, research leads me to Israel, where I found some families from Tinghir. Sounds from Israel and Morocco, resonating melodies, voices and stories of this dual identity shared between Muslims and Jews.
Tukki bi (The journey)
The journey to Europe is part of the Senegalese collective imaginary. The choral perspective of the inhabitants of Louga, a region with a strong migratory tradition, illuminates the comprehension of both causes and consequences of Senegalese migration.
The journey to Europe is part of the Senegalese collective imaginary. In Louga, a region with a strong migratory tradition, every family has at least one member that has emigrated to Europe. During a journey back to his community of origin in Louga, Dame Sarr discusses migration with local inhabitants. Young people, farmers, university students, fishermen, return migrants, actors of development, migrants' wives and the marabout of the community reveal their own image of migration during conversations. The causes and consequences of Senegalese migration, including the link between migration and development, are illuminated by the choral perspective of such actors.
Tukki bi (The journey), Jenny Maggi and Dame Sarr. 52', 2009, Senegal. Production: Visual sociology Unit, Geneva.
This panel is closed to new paper proposals.