In 2014, 14,792 asylum seekers arrived in Denmark, 2,940 of them were children. At Home in the World follows the day-to-day lives of those children whose families are seeking asylum in the EU.

This remarkably intimate and touching documentary focuses on one Danish Red Cross school for refugees, where classrooms are filled with children from more than twelve countries. The students have had to learn Danish while adjusting to new surroundings and, in some cases, dealing with the traumas of conflict. While some students thrive and find friendship despite their difficult pasts, others act out with feelings of alienation and frustration. Some are denied asylum and sent back to their countries of origin, while others are granted residence and graduate to standard Danish language schools.

With stunning and unobtrusive camera work, director Andreas Koefoed masterfully captures the social and psychological impacts of displacement from the outlook of young people and the educators who are tasked with guiding them – and at times their parents – through daunting new experiences.

Directed by: Andreas Koefoed
Produced by: Sara Stockmann
Production company: Sonntag Pictures
Runtime: 58′
Country: Denmark
athomeintheworldthefilm.com

Language, neuroscience, and cinema come together for this unique evening at the Frontline Club showcasing the work of ethnographic filmmaker and sound artist Vincent Moon, in collaboration with A World Without Words.

A World Without Words is a project by writer and filmmaker Lotje Sodderland, with poet and curator SJ Fowler and artist and material engineer Thomas Duggan, inviting audiences to engage with the nature of human language. With a series of events around London, including exhibitions, screenings and performances, A World Without Words calls into question how meaning maps into the brain.

A selection of Vincent Moon’s short observational documentaries — shot around the world and capturing local folklore and diverse musical rituals — will be screened in alternation with an informal discussion by the director of London’s Institute of Philosophy Dr Barry Smith.

Dr Smith will explore the neural correlates of meaning, music, and language in the context of each film, to offer the audience an explanation of the role of language in subjective mental life.

From Sufi rituals in Chechnya, to ancient folk songs in Columbian’s pacific rainforest; from an Eastern Orthodox family portrait in Tbilisi, to shamanic healing songs in Peru, we will experience how the brain ascribes meaning to music and sound – even when words are obsolete.

The film lineup:

Le Grand Jihad (8 min) – A Sufi ritual in Chechnya

Nur-Zhovkhar (9 min) – Folk songs from Chechnya

Belogorskiy – (12 min) A rare liturgy in Russia’s hidden cave monastery

L’école du Vent – (7 min) Contemporary maestros of Azerbaijan

Erdm Ensemble – (12 min) Songs from Kalmoukie

A portrait of Justina – (16 min) A shipibo shaman in Peru healing villagers with song and ayahuasca

Vincent Moon is a French independent filmmaker and sonic ethnographer who rose to prominence with the Blogotheque’s Take Away Shows, a web-based project recording field work music videos of indie rock musicians as well as some notable mainstream artists including Tom Jones and Arcade Fire. In recent years the focus of his work has been documenting local folklore, sacred music, and religious rituals worldwide for his label Petites Planètes, amassing a vast collection of rare recordings.

Dr Barry Smith is a professor of philosophy and director of London’s Institute of Philosophy, a partner in the Sensory Research Network (Toronto, MIT, Harvard, Glasgow), and co-director and founder of the Centre for the Study of the Senses in the University of London which pioneers collaborative research between philosophers, psychologists, and neuroscientists. He appears frequently on BBC Radio and writes for mainstream publications on self-knowledge, and the philosophies of language and mind. In 2010, he was the writer and presenter of a four-part series for the BBC World Service called The Mysteries of the Brain.

Could Multimedia Story-telling be the new journalism? Who are its clients and how can it work commercially?

Brian Storm, founder and executive producer of multimedia production studio MediaStorm, came up with some assured answers during a most informative and positive presentation about journalism and its future at the Frontline Club.

Storm touched upon some ways to structure a multimedia story to make it compelling viewing: establishing empathy with the character(s); using body language, which makes up 80 percent of communication. Storm spoke about ‘back-timing’, having a visual element in the imagery that challenges a statement that has just been made.

Visual sequences should be little essays, moving without extreme cuts from wide to extreme close-up. The viewer’s eyes should be able to stay in the same place and remain on the point of interest when cuts are made. Storm also advised taking tills in the same format as the video, 16:9, to avoid letter-boxing or crops in the edited piece, and as much ruthlessness in editing by subtraction as you would be when selecting your portfolio.

Being passionate about still photography, Storm had been shocked to learn that newspaper readers spend no more than 0,6 seconds looking at an image. Embedding images in a multi media story encourages viewers to engage with photography beyond a cursory glance, he said.

Storm described the four strands of the agency’s work; publication, project specific agency work, production work for others, and teaching online and workshops.

Editorial work for partners has developed as NGOs and non-profit organisation begin to seek partnerships with journalists rather than straight marketing to get their message out. They are more frequently turning to journalists for their skills and are often prepared to pay better rates for projects than regular editorial clients. 

A question about photographers ‘crossing over’ raised the issue of video work compromising the stills photography. Storm replied that one needed to allow enough time for ‘hunting’ (getting the right stills) and ‘fishing’ (filming).