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Good for the Heart and Soul, Good for Business: the Cultural Politics of Documentary at the Hot Docs Film Festival

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Good for the Heart and Soul, Good for Business: the Cultural Politics of Documentary at the Hot Docs Film Festival GOOD FOR THE HEART AND SOUL, GOOD FOR BUSINESS: THE CULTURAL POLITICS OF DOCUMENTARY AT THE HOT DOCS FILM FESTIVAL By Ezra Winton A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In Communication Carleton University, Ottawa, Ontario © Ezra Winton 2013 ii Abstract This dissertation looks at the ways in which the Toronto-based Hot Docs documentary film festival is undergoing a process of transforming documentary cinema and culture from the margins to the mainstream through a process of the commercialization of documentary. In particular three interlocking forces are examined, including populism, consumerism and liberalism. By privileging commercial interests and strategies over local community, advocacy and political activist considerations, Hot Docs is developing into a very successful and vital cultural institution and event, both nationally and globally. This thesis investigates the consequences of the festival’s commercial strategy with two aspects in mind—the mode of its consumption, and the management of contestation and dissent—and argues that radical perspectives, local advocacy and political participation are being eroded for the sake of a large, accessible and attractive festival image and performance. iii Acknowledgements They say it takes a village, but that adage is rarely applied to single-authored texts. Regardless, the last six years have shown me that short of a village, a community of supportive, irreplaceable, generous and at-the-ready friends and colleagues goes a long way. As such I am gratefully indebted first to Ira Wagman, my supervisor and one of the best sources for pedagogical advice and inspiration I’m sure I’ll ever encounter. As I have a habit of “putting the cart before the horse” I require someone to constantly remind me that “we’re not quite there yet,” and Ira has been a tremendous, and patient, guide in that regard. I once told Ira of my fabled attempt to buy a sailboat with a friend, with the audacious plan to learn how to sail afterward. The scheme ended in a botched journey out of Granville Island harbour, Vancouver and a frantic call to the Coast Guard. Thankfully, for this latest adventure, I was fortunate enough to have the Coast Guard ahead of time, and I hope Ira agrees, I didn’t quite wreck the ship. I’m also grateful to my committee and readers, and to Kirsten Kozalonka and Marc Furstenau in particular for their superhuman turnaround speed with drafts and feedback. As well, I managed to torture others with early drafts (both written and blubbered over libations), and so gratitude must go to Matt Croombs, Michael Lithgow, Valdis Silins, and my unstoppable mentor Thomas Waugh (whose advice and reflections during so many saunas and road trips found there way into corners of this document). Darrell Varga and John Downing have lifted me up along the way, despite hectic schedules and so many kilometers between us. Thanks also go to Tina Gelsomini for her indispensible undercover work and again to Michael for his last-minute city-to-city aid. A big thank-you must also go to all the filmmakers and docuphiles who shared their stories, impressions and theories with me, both formally in interviews and informally over the course of so many documentary community encounters. In particular I am indebted to Marc Glassman and Judy Wolfe as well as Mark Achbar and Siobhan Brannigan for their impervious hospitality each time I needed a warm bed in Toronto. Leslie Shade and Ian Duncan performed the same role of tireless host for my weekly trips to Ottawa, while taking my graduate classes at Carleton. In both cities I have been treated to kitchen table discourse that never failed to be insightful (and to incite-ful!), critical and lyrical. Teachers have always been key figures in my life, and over the years my ability to see the world through a critical, but not entirely hopeless, lens has been shaped by many. In particular, I’m very pleased that Al Pullin instructed me, in elementary school, to never stop learning; Peter Prontzos at Langara, Michael O’Neill at North Island College, and iv Yasmin Jiwani, Tim Schwabb, Charles Acland and Liz Miller (as well as others mentioned already) kept me, during my long undergraduate years and MA, oriented toward community, justice, imagination and communication. A big thank-you to Kathy Wazana, Marc Glassman, Barri Cohen and Geoff Bowie for graciously supplying me with Hot Docs goodies including original programs from the nineties and page-turning minutes from the original CIFC meetings. Of course I’m also grateful to all the others I interviewed, including Hot Docs management and staff, especially Chris McDonald, Brett Hendrie and Sean Farnel – all of whom made themselves accessible and never complained about my drawn out, often convoluted questions. My family, especially my mother and father and three dynamic sisters, have always supported my sketchy schemes and despite some concern for me arriving safely at the end of this journey, have never doubted my ability to swim beyond the pond. Their long- distance encouragement added real sustenance to the litres of coffee, Guru and Yerba Matté that undoubtedly only fooled me into staying up for another hour. Last but not least, I am forever indebted to my partner Svetla Turnin. Her ferocious advocacy for my education manifests in several vital ways, including steering the ship and staying the course with our eternal distraction Cinema Politica, while I was battling the other monster in the room. At the end, when the ninth hour approached and the universe seemed to conspire against me in dramatic moments that I’m sure every PhD student imagines are really happening, Svetla’s companionship and reassurance kept the lights on (at my desk and in my head). Lastly, she has served as the sounding board to so many half-baked ideas that plans are in the work for a special award, to be given to her after a successful defence. At that point I will refresh my battery of scattered ideas and fragmented conclusions and hoist them upon her for another six beautiful years together. On a final note, I dedicate this dissertation to two dear friends, who both passed while working on this project. Magnus Isacsson (1948-2012) a true radical committed documentarian, and Peter Wintonick (1953-2013) a global doc ambassador if there ever was one, inspired me immensely over the years and will be missed but never forgotten. v Table of Contents Introduction - Hot Docs and the Cultural Politics of a Documentary Festival…....…..…..1 • Structure of Feeling and Cultural Politics…………………………….......……..5 • An Unchartered Path…………………………………………………...………..7 • A Documentary Thing…………………………………………………..……...10 • A Canadian Thing…………………………………………………….………..13 • Chapter Breakdown…………………………………………….……….……...15 • A Note on Methodology……………………………………….……………….25 Chapter 1 - Mapping the Contextual Terrain…………………………………………….32 • The Festival Context…………………………………………………………..33 • The Documentary Context…………………………………………………….45 • A Note on Terminology……………………………………………………….48 Chapter 2 - Advocacy, Community and Pleasure: A History of the Hot Docs Film Festival…….……………………………………………………………………………..66 • Introduction…………………………………………………………………...66 • Creation Myths………………………………………………………………..68 • Structure of Feeling and Time……………………..………………………….69 • Post-eighties Context: Toronto………………………….…………………….72 • Post-eighties Context: The Nineties.………………………………………….74 • Hot Docs is Born……………………………………………………………...81 • The CIFC Years (1994-1998) ………………………………………………..84 • New Management (1999-2013) ……………….……………………………..98 • Conclusion………………………………………………………………...…106 Chapter 3 – Everyone Loves Babies: Populism and Docbusters at Hot Docs……...…..109 • Introduction………………………….……………………………………...109 • Populism…………………………………………………………………….111 • Baby Love: Babies the Film……….………………………………………..117 • A Small Place: The Touristic Gaze…………………………………………127 • A Culture of Conformity: Capitalizing on Documentary…………….…….132 • The Rise of the Docbuster ………………………………………………….140 • The Affective Space of the Festival……………………………….……….143 • Bike Bells and Sponsorship Strategy……………………………………….147 • Public Diversity, Private Homogeneity……………………………………..150 • Conclusion ……………………………………………………………….…152 Chapter 4 – Selling Out and Buying In: POM Wonderful and the Commodification of Documentary……………………………………………...…………………………….154 • Introduction……………………………………………………..…………...154 • Ad Nauseum: POM Wonderful the Film……………………….…...………157 • Consumerism, Documentary & The Artist-as-Entrepreneur………………..165 • Buying in to Doing Good: Social Conscience as Social Commerce………..171 vi • Positive Social Change for Consumption…………………………………...175 • Docbusters and Mass Appeal Programming………………………………...177 • Celebrity, Documentary, Hot Docs………………………………………….181 • The Sundance North Model…………………………………………………186 • Public Documentary Cinema………………………………………………..190 • Conclusion…………………………………………………………………..197 Chapter 5 – Flipping the (Foreign) Bird: Liberal Rights Discourse, Consensus and Dissent……………………………………………..………...………………………….199 • Introduction……………………………………..…………………………...199 • Ai Weiwei: Never Sorry…………………..…………………….…………...202 • A Liberal Framework of Consensus & Dissent………………..…………….205 • Dissent Tourism………………..……………………..……………………...210 • The ‘Feel Good’ Political Social Space of Hot Docs ….………….…...…….214 • Market Logic…………………………………………………………………219 • Rights and Social Justice Discourse………………………….………………223 • Activism…………………………………………………….………………..226 • H2Oil: Subverting
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