On the unique role, and problematic status of documentary, opening and closing scenes.
Editor and Speaker: Dan Geva
In feature films, whatever type they may be, there is no doubt regarding one fact: the beginning, end and world of the subject''s life, are defined by the opening scene and the closing scene. Beyond them, the subjects and their world have no real existence; therefore they represent clear demarcation between the real and the imaginary world. On the other hand, the real person and human condition in the empirical world, which are the objects of attention in documentaries, are not defined by poetic openings and endings. Their existence begins before the opening scene, and continues after the closing scene. We know this, yet we ignore it, preferring our addiction to the cinematic experience. We want to be enticed by the opening, so that we don''t forget the ending. However, between the opening and closing scenes, echoing in our consciousness, a little voice continues to whisper: "this opening isn''t really the beginning and this closing isn''t really the end, it''s only this film''s."
This seminar is devoted to the examination of opening scenes and closing scenes, from Docaviv''s winning films over the past decade; using them as examples to analyze the documentary film maker''s expertise in the art of enticement.
A skill that turns the opening and closing scenes into the deadliest rhetorical weapons in the film makers'' war, to conquer our consciousness, our hearts and our intelligence.
Schedule and Agenda
10:00-12:00: Lecture, accompanied by screening of opening and closing scenes from the winning films.
12:00-12:30: Break.
12:30-13:30: A Case Study: screening of: Fairytale of Kathmandu / Ireland 2007
