AlternativeFilm/Video Research Forum 2016



7-11December 2016, Belgrade

Regardingthe active fault line between modes of expression in cinema, Bill 
Nichols wroteabout ‘blurred boundaries’ in 1995. Twenty years later Erika 
Balsom and HilaPeleg wrote about ‘documentary across disciplines’ with a 
specific focus onalternative forms. Notwithstanding these important recent 
critical brackets,there is a very long tradition of documentary practices 
making incursions intothe field of alternative film and video, though there 
does seem to be a risingcurve of such work in the early 21st century, through 
the use ofarchival material, amateur film/video, and other forms of non-fiction 
contentthat is experimented upon and/or with. This year’s Alternative 
Film/VideoResearch Forum will take stock of the current state of such 
‘documentaryintersections’, analyzing their pasts, presents, and future 
prospects for adynamic, borderless cinema.

Wedo not normally think of alternative film and video in terms of genre 
orthrough genre studies. As such, we do not often enough consider the effects 
ofgenre hybridity or ‘interdisciplinarity’ as exhibited in such work. As a 
genrethe documentary has been very fluid across the history of cinema. One can 
seeits artifacts in various national styles and movements. On the other end of 
thespectrum, documentary itself has had something of an experimental 
affinitysince the silent era of cinema. One might recall the interactive plays 
withperformance of Flaherty, or the archival fever of Shub, or the radical 
montagestrategies of Vertov. How do we account for these early intersections? 
How havethey developed over time while impacting alternative film and video 
work? Whatare the qualities of contemporary attempts to experiment along these 
and otherpaths?  

InJeffrey Skoller’s 2005 study, Shadows,Specters, Shards: Making History in 
Avant-Garde Film, he argues for theimportant role that alternative film and 
video plays in evoking social andpolitical history – maybe more important than 
conventional non-fiction formats.Here we have an ethical concern with the 
documentary intersection, with the largerresponsibility and burden it carries. 
In the 2016 anthology Ortsbestimmungen.Das Dokumentarische zwischen Kino und 
Kunst, edited by Katrin Mundtand Eva Hohenberger, we again find an 
investigation of the documentary betweenthe disciplines of cinema and art. Can 
we place the ‘alternative documentary’on such a continuum, and if so to what 
pole does it tend toward? To againborrow a title from one of Nichol’s books, 
the documentary might be chargedwith ‘representing reality’ but the 
documentaryintersection, with its elemental collisions and fusions, may have 
the moreimportant task of re/creating reality. Building a better world out of 
theshadows, specters, and shards of the existing one is a formidable concern 
forsuch a cinematic intervention. We will explore and exercise this concern in 
theAlternative Film/Video Research Forum 2016.  

Thisone-day event (on 9 December) running concurrently with the festival 
willgather a group of curators, critics, artists, and researchers for an 
intimateencounter where presentations will be delivered and discussions held 
concerningalternative works of film, video, and new media art. We are accepting 
abstractsof 300 words along with short biographies of 150 words for 
consideration.Selected participants will be given support toward their 
accommodation inBelgrade but are asked to cover travel expenses on their own. 
Please forwardinquiries and submissions to Greg de Cuir, Jr, selector/curator 
for AlternativeFilm/Video Belgrade, no later than 15 October 2016 at   


AlternativeFilm/Video Belgrade (Serbia) is an international festival for new 
film andvideo tendencies and one of the oldest manifestations of its kind in 
Europe. Itwas founded in 1982 by Miodrag Milošević as an antidote to commercial 
film andvideo-making and to support unconventional practices while celebrating 
movingimage cultures. Alternative Film/Video Belgrade is organized by and 
hosted atAcademic Film Center in Belgrade, which was established in 1958 as a 
kino cluband where many iconic filmmakers worked, including Tomislav Gotovac, 
ŽivojinPavlović, Radoslav Vladić, and others. Visit the website at

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