August Bank Holiday Weekend
Pippingford Park, East Sussex, UK
Join us at Byline – the world’s first festival for independent journalism and freedom of speech – to debate, discuss, dance, laugh, and change the world.
Throughout the festival Frontline will be running a curated series of talks and documentary screenings exploring two of this year’s festival themes: Defending Democracy and The Power of Journalism.
Frontline Events include:
DEBATE: The Extradition of Julian Assange – Friday 23 August, 3pm
We’ll be hearing from journalist Nick Davies, politician and activist Birgitta Jonsdottir and Frontline’s Vaughan Smith as they debate the legacy and the future for Assange, as the likelihood of his extradition to the USA looms.
TALK: The Parallel state: Truth, Lies & Political Fiction in Contemporary Turkey – Friday 23 August, 4.30pm
What began as a project about Turkish soap operas for award-winning photographer Guy Martin soon turned into a photographic exploration of the fault lines of truth, power and politics in Turkey. Chaired by journalist Jo Glanville.
FILM: Under the Wire – Saturday 26 August, 3pm
On 13 February 2012, war-correspondent Marie Colvin and photographer Paul Conroy entered war-ravaged Syria to cover the plight of civilians trapped in the besieged Homs, under attack by the Syrian army. Only one of them returned. This is their story.
FILM: White Right: Meeting the Enemy – Sunday 25 August, 10.30am
Filmmaker Deeyah Khan meets U.S. neo-Nazis and white nationalists face to face and attends the now-infamous Unite the Right rally in Charlottesville as she seeks to understand the personal and political motivations behind the resurgence of far-right extremism in the U.S. Won 2018 Emmy for best international current affairs documentary.
FILM: Unquiet Graves – Sunday 25 August, 3pm
Sean Murray‘s powerful film tells the story of how members of the RUC and UDR (a British Army Regiment) were involved in the murder of 120 innocent civilians in the targeted terrorising of the most vulnerable members of society during “the Troubles” conflict in Northern Ireland.
FILM: When Lambs Become Lions – Sunday 25 August, 6.20pm
In the Kenyan bush, a small-time ivory dealer fights to stay on top while forces mobilize to destroy his trade. When he turns to his younger cousin, a conflicted wildlife ranger who hasn’t been paid in months, they both see a possible lifeline.
TALK: The Price of Paradise – Monday 26 August, 1.10pm
Investigative journalist and author Iain Overton will be in conversation about his latest book, which looks at the influence of the suicide bomber on modern society from pre-revolutionary Russia to the present day.
The Frontline Cub Tent can be your base between events: take refreshment from our bar, try our delicious Norfolk mezze of food, and enjoy some laid-back entertainment including music, poetry and games.
Travel is just over an hour from London by train so bring your friends, colleagues and family. The festival is family friendly with lots of activities for children of all ages.
Tickets: Day and weekend tickets are available with a specially-discounted weekend rate for Frontline Club friends and members.
Links:
- For more information about the festival, visit the Byline website.
- To keep up to date with news about Frontline events at Byline, sign up to our newsletter.
Looking at Time, Brandon Lavoie
A panel of experienced filmmakers will come together to discuss their creative methods for short documentary production – focusing on cinematography, editing, and visual storytelling for capturing the essence of big stories in short format. Taking into account the development of online distribution platforms and Op-Docs, we will explore how new technologies and distribution methods are connected to creative practice.
Addressing the editorial challenges involved in short filmmaking and screening segments of stylistically varied and innovative projects, this discussion will be geared towards both filmmakers and short film enthusiasts.
Panelists:
Jenny Horwell (moderator) joined DocHouse as producer in 2012, organising weekly screenings of documentaries in London cinemas. In 2015 the organisation opened Bertha DocHouse, the documentary cinema based at the Curzon Bloomsbury. As well as her work at DocHouse, Jenny has programmed the documentary shorts for four editions of the London Short Film Festival, since 2013, selecting work from open submissions. Before all that, she spent several years working at film festivals and events, and produced promos, trailers and videos at Matter Productions.
Liam Saint-Pierre
Born in Blackburn, England, Liam’s background was in stills photography and as a documentary camera operator, where he worked with the likes of Shane Meadows at Warp Films.
With a desire to tell stories, Liam’s path naturally led to directing,where his skills as a versatile filmmaker allowed him to create beautiful and intimate imagery across a variety of mediums. His cinematic style mixed with a tender realism and subtle humour translates into different genres, with story telling always at the heart. Initially this was in documentaries, but a focus on narrative has been translated into music videos, short films and commercial work. His films have been selected to screen at numerous international film festivals, including Raindance, LSFF, Sheffield Docfest, DOC NYC and many more.
Chloe White
Chloe is an award-winning documentary filmmaker and photographer based in London. Her short films have screened worldwide at festivals as well as on the Guardian, BBC3, London Live, and BBC Radio 4. Chloe is interested in character-led documentaries and has made films on a diverse range of topics (lobster fisherwomen, female genital mutilation, self-marriage, launderettes, an atomic bomb survivor and elder transgender women) but has a special interest in female-related subjects.
Chloe also runs a production company called Whalebone Films, specialising in films for NGOs (Save the Children, WaterAid, Oxfam) and arts organisations (National Theatre, Barbican). Through this work Chloe has travelled around the world filming in over 25 countries.
Marc Silver
Marc works worldwide as a filmmaker and director of photography. His first feature length film ‘Who is Dayani Cristal?’ premiered at the Sundance Festival 2013 where it won Cinematography Award: World Cinema Documentary and the Amnesty International Best Documentary award 2014. His second film ’3½ Minutes, Ten Bullets’ about the murder of Jordan Davis premiered at the Sundance Festival 2015 winning U.S. Documentary Special Jury Award for Social Impact. It was shortlisted for an Academy Award and broadcast on HBO.
Marc’s rich portfolio includes documentaries, concert visuals, art installations and branding. He has created content for the BBC, Channel 4, Universal Music, The Guardian, The New York Times, Amnesty International, UNHCR and collaborated with artists such as Gael Garcia Bernal, Nitin Sawhney, Michael Nyman, Jamie Cullum, Ben Okri, Matthew Herbert and Cirque Du Soleil.
Marc is currently working on a new film about ayahuasca, neuroscience and global drug policy. He is Creative Director of The Filmmaker Fund.
Gemma Atkinson
Gemma Atkinson is an award-winning producer and director, with ten years experience of making documentaries through her production company Fat Rat Films. Her films have been screened at major festivals internationally (AFI Silverdocs, LSFF, Doc/Fest) broadcast on BBC, C4, Al Jazeera, The Guardian, and the New York Times. She is in production on her first feature documentary What We Leave Behind, an intense character study of a grieving undertaker, scheduled for release in Autumn 2016. She directs and produces documentaries around the world for various NGO’s including Amnesty International, Oxfam and The Elders.She is a co-founder and director of the hugely successful screening and networking event Doc Heads, playing to packed screenings for over 6 years.
The Green Caravan Film Festival (GCFF) is a travelling festival of environmental and socially conscious films. It has toured Kuwait and Dubai for four years and now makes its London debut with screenings at the Frontline Club in west London and Rich Mix in east London. The Frontline Club will be hosting three days of screenings showcasing the best of the festival, taking place in the evenings on 29-31 October.
The festival hopes to bring together a variety of audiences, filmmakers, NGOs and supporters that can discover, share and cooperate on the vital issues presented by the films in an atmosphere of inspired camaraderie and passion.
This year the festival has invited short films from the MENA region to enter an audience judged competition for the first time. The feature length films that make up 80% of the festival are carefully curated by GCFF to ensure that the stories being told and issues brought forward are done in an inspiring and well crafted way. The festival believes that the powerful medium of film can be a catalyst for positive change and we hope that it will entertain and challenge all those involved.
Website: www.thegreencaravan.com
Twitter: @gcfilmfest
Facebook: /gcfilmfest
Screening schedule:
Thursday 29 October, 7:00 PM – I Am the People
Friday 30 October, 8:00 PM – The Wanted 18
Saturday 31 October, 4:00 PM – Babushkas of Chernobyl
Saturday 31 October, 7:00 PM – Hadwin’s Judgement
]]>The festival is divided into two halves: ‘Documenting Ukraine: Theatre’ (14–15 May 2015) features two live performances at GRAD: Gallery for Russian Arts and Design, before ‘Documenting Ukraine: Cinema’ (16–17 May 2015) sees a full program of contemporary Ukrainian documentary films at Frontline Club.
Documenting Ukraine, two days of cinema and debate presents nine film screenings with Q&A discussions and special panels exploring the realities of modern Ukraine and the depth of Ukrainian cinema.
Day passes are available for £14, as well as full weekend passes for £22. Booking through this page reserves you a ticket for Sunday’s events.
Sunday May 17 programme:
14:00 UK Premiere: The Donetsk People’s Republic, Or The Curious Tale of the Handmade Country (53’) plus discussion
This is an unfiltered, fly-on-the-wall account of how the Donetsk People’s Republic came into being, filmed with astonishing access from May to April 2014, followed by a discussion with Anthony Butts, Nataliya Gumenyuk, Andrew Wilson, and Orysia Lutsevych.
16:30 UK Premiere: Crepuscule + Q&A
Screening followed by Q&A with director Valentyn Vasyanovych.
Valentyn Vasyanovych joins us to present his acclaimed documentary about a mother and son living in a remote province of Ukraine.
18.30 The Eleventh Year with international premiere of live score by Anton Baibakov
Dziga Vertov’s silent documentary, digitally remastered with a live score performed by Anton Baibakov including the UK premiere of the film’s recently discovered animation trailer.
@OpenCityDocs
Documenting Ukraine is a four-day umbrella festival organised by Open City Docs, Frontline Club and GRAD, bringing Ukraine’s leading names in documentary cinema and theatre to London this May.
The festival is divided into two halves: ‘Documenting Ukraine: Theatre’ (14–15 May 2015) features two live performances at GRAD: Gallery for Russian Arts and Design, and ‘Documenting Ukraine: Cinema’ (16–17 May 2015) sees a full program of contemporary Ukrainian documentary films at Frontline Club.
Documenting Ukraine: Two Days of Cinema and Debate presents nine film screenings with Q&A discussions and special panels exploring the realities of modern Ukraine and the depth of Ukrainian cinema.
In collaboration with our partners, Open Democracy Russia and DocudaysUA, we are delighted to give audiences the chance to see a rich programme of Ukrainian documentaries rarely presented in UK cinemas, from a live performance of Dziga Vertov’s silent 1928 documentary The Eleventh Year, to a work-in-progress screening of Askold Kurov’s urgent film about the imprisonment of Ukrainian filmmaker Oleg Sentsov.
The weekend’s events bring together Ukrainian and British filmmakers and experts to explore the intersection of cinema, culture and politics in Ukraine, with films and discussions examining the Maidan protests that brought about the downfall of President Yanukovych’s regime in 2014 and recent conflict in Donbass, as well as reflecting on Ukraine’s longer history and relationship with the Soviet Union.
We are extremely grateful to the O’NEILL CONSULTANCY for their generous support which has made this event possible.
Day passes are available for £14 as well as full weekend passes for £22. The festival is free for Frontline Club members.
Booking through this page reserves you a full weekend pass. See the links below for the programmes by day.
@OpenCityDocs
Day passes are available for £14, as well as full weekend passes for £22. Booking through this page reserves you a ticket for Saturday’s events.
Saturday May 16 Programme:
12:00 UK Premiere – Ukraine: When the Countdown Began (90’)
A complex and comprehensively sourced documentary about the emergence of an independent Ukraine from the ruins of the USSR in 1991 with interviews with all the major players including Leonid Kravchuk, Zbigniew Brzezinski, Gennadiy Burbulis, Levko Lukyanenko & James Baker.
14:00 Preview Screening: The Bright Future of Oleg Sentsov + Discussion with Agnieszka Holland & Askold Kurov
We’re delighted to present a rough cut of material from Askold Kurov’s ongoing documentary about the plight of the Ukrainian filmmaker, plus a discussion with Oscar-nominated filmmaker Agnieszka Holland.
Sometimes the borders of political events come so close to the borders of your own creative freedom that you have no other choice but to participate. That’s what happened to Oleg Sentsov, who was arrested by the Russian Federal Security Service on suspicion of plotting terrorist acts and could now face 20 years in jail. Sentsov’s debut film Gámer premiered in 2011 to critical acclaim, but his second feature was put on hold when protests broke out in Ukraine. Sentsov supported the Euromaidan movement in Kiev and participated in the rallies against Russian occupation in Crimea. Despite protests against his arrest, international condemnation and a campaign by filmmakers Pedro Almodovar, Wim Wenders, Mike Leigh, Krzysztof Zanussi, Andrzej Wajda and Bela Tarr, the Russian authorities have refused to consider his release.
15:00 Double-bill: Tomorrow is a Holiday (26’) & UK PREMIERE of Mum Died on Saturday in the Kitchen (52’) + Q&A exploring Ukrainian cinema since 1986 with Raisa Sidenova, Serhiy Bukovsky, and Maxym Vasyanovych
Serhiy Bukovsky’s subversive 1987 documentary about a Soviet factory, followed by Maxym Vasyanovych’s tender portrait of his family in the Ukrainian SSR.
17:45-19:30 Maidan Shorts (26’) + Discussion
A special screening of shorts and clips reflecting on the Euromaidan movement in Ukraine, followed by a discussion with filmmakers and academics. For the discussion we will be joined by Roman Bondarchuk, Natalia Gumenyuk, Serhiy Buchovsky, Rory Finnin & Olesya Khromeychuk
19:30 Reception and sale of photographic prints by Aleksandr Glyadelov
A selection of compelling photographs by Aleksandr Glyadelov from Maidan last year and from the fighting in the east of Ukraine in 2015.
Yulia Serdukova from DocudaysUA writes:
Glyadyelov still takes pictures the old way, in black-and-white on an analog cameras with manual focus, a mechanical shutter system and no burst mode. It seems as if these details are strictly technical, but this makes his work conceptually different from the stream of images we see every day. It is almost impossible to film like that in the middle of a fight. That is why the cameraman has to scan what is going on during pauses. In other words, he films not death, but life. Then he develops his films and makes photographic prints manually; that takes time. You cannot shoot news broadcasts this way – that’s why the cameraman has to gaze at non-transitory things.
One of my friends who has been visiting the war zone as a journalist all this time called the trees split by artillery shells the scariest things of the war. This picture tells me a hundred times more about shell attacks than burning Grad warheads or even destroyed houses (which are eventually seen on TV).
Gazing into the faces of the people hiding from a shell attack or peacefully napping soldiers I see the same broken trees. Many of those people are already gone. But the anxiety and hope from their eyes spreads through these pictures like the force wave from an explosion, meeting practically no resistance.
In a recent interview Glyadyelov himself said: “We are unfortunately too accustomed to statistical reports: The day before yesterday 3 people were killed and 7 injured. Well, I give another way of looking. When you know people directly, you can’t forget what is really going on. The sharpness cones back. And yes, when I’m there, I try to photograph the people because then you will not forget what is happening.”
@OpenCityDocs
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In many areas of the world it is becoming increasingly difficult and dangerous for foreign journalists and filmmakers to gain access and cover stories as they unfold. Today, thanks to user-generated content these stories no longer remain unreported. With pressure to bring viewers the news as it is happening, is there enough time to verify the material? How does this uncorroborated footage affect the contract with the viewer?
This panel will address the technology and the techniques used today, looking at how content is verified, and how you can empower people to tell their own stories and distribute it to local and international communities.
Matthew Eltringham is an RTS award-winning journalist and editor of the BBC College of Journalism, the body responsible for training the BBC’s 6,500 journalists. He was the founding editor of the BBC’s user generated content team that has transformed the way the BBC uses social media in its daily journalism. He has worked across TV, radio and online in his 19 year career at the BBC.
Rina Tsubaki leads and manages the Verification Handbook and the Emergency Journalism initiatives at the European Journalism Centre in the Netherlands. While the Verification Handbook provides step-by-step guidelines for how to deal with user-generated content (UGC) during emergencies, Emergency Journalism brings together resources for media professionals reporting in and about volatile situations in the digital age. Her previous work focused on the role of citizens in the changing media landscape.
Malachy Browne is news editor with Storyful, the first news agency of the social media age. Headquartered in Dublin and with staff in Asia and the US, Storyful helps its news clients discover, verify and distribute the most valuable user-generated content on social media platforms. A coder turned journalist, Browne takes an interest in the confluence of technology and journalism.
Fergus Bell is the international social media and UGC editor for the Associated Press. He leads the operation to source and verify user-generated content so that the AP can acquire and publish this content across formats. He also trains and advises AP’s global staff in UGC acquisition and social media monitoring. In 2013 Fergus co-founded a committee for the Online News Association that looks at the ethics and standards of UGC and digital newsgathering in the news industry.
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Between the Lines, a festival dedicated to connecting new journalism with documentary and film-making, was launched at the Frontline Club on Tuesday 12 February, 2013.
Photography: Caroline Schmitt
Elizabeth Wood, one of the festival curators, introduced the Club to the purpose of these three days of celebrating film and evoking dialogue:
“The digital media has both influenced the story teller and the audience who is now able to make up their own mind. The expert speakers will bring debates and provoke open minds, which sometimes seems difficult for the British public.”
Trailers for some of the films that will be included in the festival were presented to the attendees at the launch. The trailer for Last Call at the Oasis quoted Albert Einstein in saying: “Those who have the privilege to know have the duty to act.” A number of films made this their motto, raising the issue of campaigning documentaries, and the changing contract with the viewer. The festival will explore and widen the boundaries of investigative journalism, governmental censorship and new media, accompanied by a team of expert panelists.
One of the clips presented to the audience was Tim Pool’s political coverage: in a 21-hour marathon, the ‘hacktivist’ live-streamed from the Occupy Wall Street movement. Pool made it into TIME’s “140 Best Twitter Feeds of 2012 and showed the utmost significance of embedding social media when it comes to accurate reporting. Pool will be speaking at the festival alongside a cast of other innovators and experts on documentary and the media.
The audience at the Between the Lines launch.
Photography: Mark Shenley
The launch event was marked by authentic first cinematic impressions and discussions of the audience’s own encounters with filmmaking, and raising important issues for the general public through it.
Dennis Marks, a producer and filmmaker from the audience, remembered his most exciting film project.
“My team has been right there on Millennium Eve when Russia turned into a different world between 1999 and 2001, when Yeltsin handed over to Putin. It’s when the world changes right in front of your eyes.”
Drinks were sponsored throughout the evening by Chivas Regal. Between the Lines will be held from 1st to 3rd March 2013 at RichMix in Shoreditch, London.
Early bird passes are available for £100 (£80 concessions), more information can be obtained here.
This launch event at the Frontline Club will provide a taster of what the festival holds in store, featuring clips from documentaries and the announcement of the full programme. Free drinks will be provided throughout the evening, courtesy of Chivas Regal.
A limited number of tickets are available to the public to book for this launch event via the BOOK NOW link above. If you work in the media and would like a press ticket to attend the launch, please email flora.carmichael@www.beta.frontlineclub.com to request an invitation.
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