10 11 12 SEPTEMBER 2009 JOHANNESBURG, SOUTH AFRICA SUPPORTING THE CRITICAL ROLE OF DOCUMENTARY FILM

PANEL DISCUSSIONS • DEBATES • NETWORKING • MASTERCLASSES

GOETHE-INSTITUT • 119 JAN SMUTS AVE ENTRANCE ON NEW PORT ROAD, PARKWOOD to register for People to People 2009 go to www.3continentsfestival.co.za THANK YOU to our sponsors and partners • SABC • Gauteng Film Commission • Goethe • Prohelvetia • Swiss Agency for Development • NFVF • The Human Rights Media Trust • the DTI • IDC • French Embassy • IFAS • Uhuru Productions • SACOD • Encounters Welcome to Delegates Tri Continental Film Festival Email: Zivia Desai Keiper The Tri Continental Film Festival, ([email protected]) Encounters South African International Documentary Festival and The Southern Tel: +27 21 788 5462 Africa Communications for Development Cell: 084 526 1155 (SACOD) are jointly responsible for www.3continentsfestival.co.za bringing you the 2nd People to People International Documentary Conference 2009. A warm welcome is extended to delegates from the organising partners, conference staff and volunteers. The conference promises an opportunity to solidify networks, reaffirm the value of Encounters South African documentary and provide the industry International Documentary with some heated debate and valuable Festival learning. South Africa’s only film festival devoted exclusively to documentaries, Encounters About the Organisers South African International Documentary Festival was first held in 1999. Encounters features screenings of local and international works, panel discussions and workshops for aspiring filmmakers. The Tri Continental Film Festival festival’s film laboratory offers first-time filmmakers the working opportunity to The South African based Tri Continental learn from experienced directors. Film Festival is an initiative of various Encounters organisations, including The Human Email: [email protected] Rights Media Trust, Lawyers for Human Tel No: 021 465 4686 Rights, Uhuru Productions and Southern www.encounters.co.za Africa Communications for Development. The festival showcases outstanding political cinema including documentary, feature and short narrative films that are from or about the continents of the South. The Tri Continental Film Festival works with local social movements and is Southern African committed to promoting a human rights Communications for culture in South Africa, by showcasing Development cinema that highlights the plight and perseverance of ordinary people who SACOD is a network of some 73 members triumph over injustice and discrimination. from 11 southern African countries, It involves strong outreach screening including filmmakers, film and video programmes. production organizations and distributors. SACOD’s mission is to promote and In 2004, the festival travelled to various empower the makers and distributors cities in India for the first time, and of films and videos to communicate in 2005, it initiated a Tri Continental on issues related to democracy, peace, Filmmakers Congress in Brazil. development, culture and race and gender

1 equality. SACOD pursues its objectives various technologies reshape the way we through a number of programmes think about the medium. including: advocacy, training, services We operate, as in the old Chinese curse, and information and product promotion. in interesting times. About People The documentary genre needs a new footing and this year’s conference aims to People to get the ball rolling through discussions People to People arises from the need to on practical and viable solutions for the deepen and develop the critical role of industry, led by industry practitioners. documentary in South Africa, Africa and Even though industry stimulus and the South. salvation measures are a key focus of The documentary conference has this year’s conference, attention has proven to uniquely extend the role not been diverted from the craft we are of documentary film in engaging the determined to secure. Documentary interests and concerns of society. This film has the power to stimulate public conference intends to stimulate the dialogue, raise critical consciousness promotion of the power of the genre in and make civil society a force to be this part of the world. reckoned with. Stories that represent the diversity of human experience have an obvious value and need to be cultivated, The local context of disseminated and preserved. People to People South African practitioners will be joined Following on the successful inauguration by a host of acclaimed international of the People to People International guests from the Middle-East, North Documentary Conference in 2007, the America, Europe and elsewhere in Africa. biennial conference is scheduled in 2009 Their experiences will offer delegates for 10, 11, 12 September. a holistic view of the genre in a global context. The inaugural event occurred at a time of great hope and anticipation as the South African documentary industry seemed on the cusp of significant and sustainable growth. The conference programme reflected this sentiment and sessions evoked a dynamic response from delegates. The conference organisers are certain that this year’s conference will inspire the same passion from participants even though the context for documentary is now radically different. The global recession has amplified cracks in public broadcasting and decimated many potential sources of funding for the genre. At the same time the film industry is adapting to an ongoing revolution as

2 HIGHLIGHTS THE KEY NOTE SETS THE TONE Harriet Gavshon, head of Curious Pictures, a major contributor to South Africa’s PBS mandate, has been actively involved in lobbying, advocacy and therefore informing the shape of the public broadcaster for well over a decade. She will address the intersection of practice and policy and examine the vision for public broadcasting with focus on triumphs and pitfalls. She will also discuss challenges, as she sees them, facing content creators, broadcasters and government. DAY 1

PLENARY PANEL DISCUSSION Public Broadcasting Ecology In Crisis The Right to Own: The Intellectual Property debate Continues The advent of private free to air stations, The creators of cultural content worldwide followed by a rapidly evolving multi- are raising their voices. Their argument channel environment, has seen the is that they have a right to utilise their powerful public broadcasters of yester inherent Intellectual Property in order to year respond in a myriad of ways to falling economically benefit from the many new audience share. This has resulted, in most formats and mediums that have sprung cases, in a reduction in state funding. up. Slots have been dropped, budgets have fallen and new hybrid public commercial Broadcasters who “own” commissions models have emerged. These models, contest these rights as they’ve paid for the often highly dependent on advertising, creation of content. Is there a compromise are now also under severe pressure. The that sees both parties win? development of satellite distribution Key players, from both sides of the IP along with the emergence of internet debate, address the following issues: distribution platforms has accelerated the globalisation of the media market. Key Questions In the process the Public Broadcast • Is ownership of inherent IP in a Service mandate has been interpreted filmmakers creative endeavours a right – in a number of ways to regain and or if so why, if not why not? maintain audience loyalty, but have • Does or can retention of IP stimulate these interpretations been adequately innovation and excellence? interrogated? A panel of international filmmakers and local media expert • Why has the issue of IP emerged as a Professor Jane Duncan respond to existing hot issue between filmmakers and the trends. likes of studios and broadcasters over the last 5 years or so? Key Questions • Can consumers be marshalled into line • Should we be looking at strands of PBS by legal framework or will the new being programmed across commercial technology ensure that creators of channels, or is there any motivation content have to respond to the new to hold onto the existing practise consumption trends? of limiting the number of channels dedicated to PBS offerings? • The Copyright Act and the Constitution • Is there a contradiction in a PBS being – is there a conflict when it comes down run commercially? to the phrase who pays own?

3 PANEL DISCUSSION Mexico or handy cams in Burma. Is this an On Convergence opportunity for celebration? “Media convergence is more A panel of local and international than simply a technological shift. filmmaker/activists discuss. Convergence alters the relationship Key Questions between existing technologies, • Is the mass availability of camera’s and industries, markets, genres, and the ability to freely distribute content audiences. Convergence alters the shifting the manner in which we view? logic by which media industries • Are “quality” camerawork, sound and operate and by which media editing actually important? consumers’ process news and entertainment… Ready or not, we are • Given budget cuts internationally, much already living within a convergence of the craft has been de-professionalised culture.” Henry Jenkins, ‘Convergence making the difference between TV and Culture’ NYU Press, 2006 keen amateur work minimal, what does the future hold for film professionals? While there are still many barriers to convergence in South Africa, especially • Many activist inspired films often end up high communication costs, slow being rather didactic. What role do such regulatory reform and lack of competition films play other than confirming those in broadcasting and telecommunications, ideas or world views already held? South Africa is not unaffected by the winds of change. So what is coming? PANEL DISCUSSION How can we understand it, and how can Ghosts of The Past: Documenting we engage with it? Memory Led by convergence expert, academic Whether in critical, irreverent, or and African- American filmmaker Adam introspective ways documentary Clayton Powell III, a panel of industry filmmakers often delve into personal specialists discuss. memory, history and the past. They wrestle with complex topics such as Key Questions the veracity of history, the nature of • How is the convergence process playing interpretation, subjective versus objective out in South Africa? truth, and the ways in which objects, • Is content still king? – and if it is, what images and retellings of the past embody content? cultural memory. • Is communication replacing content? “During the twentieth century, • How can and should we respond to the film and video became increasingly new opportunities and the new threats? important vehicles of memory, while the digital revolution has made video such a pervasive medium in the new DAY 2 century that it will become more and more vital as a source of historical PANEL DISCUSSION evidence and reflection.” Roxana Media Uprising: Citizen Journalism, Waterson Activism and Revolution A formidable panel of filmmakers share The lines between amateur videographers, and discuss their methods. media activists and filmmakers have been blurred by the mass availability of Key Questions cheap cameras, be it video phones in • Does memory represent a particular aspect of truth or fact?

4 • How do filmmakers navigate the fault • What boundaries are present in this lines between objectivity and subjective relationship? memory? • What is the filmmaker’s responsibility to • If documentary will be historical “texts” his or her subjects? of the future do documentarians have • How much can actual events or a responsibility to interrogate fragile behaviour be shaped before they “testimonies” become distorted? • What builds trust and what erodes it? ROUNDTABLE Opportunities and Challenges for Producers Today. PLENARY Towards a Campaign Filmmakers are feeling the crunch as the economy has gone into global recession It has been a remarkable year so far and the SABC has slashed spending. The for the South African film industry. The future is unclear and the new environment industry has displayed a unity, identity unfamiliar. Can the industry pioneer this and organisation not seen before, led unchartered territory unsupported? What by established industry bodies and new creative solutions have to be concretised? coalitions. Government has, in abstract, recognized What lies beyond the industry’s immediate local content as a key area of potential battles? Can professionally centred growth. What are the opportunities and organisations generate the necessary unity prospects for coordination of government of vision to sustain a campaign of action? agencies and what are the challenges that Or should the federation simply work filmmakers face at a project and industry as a tactical alliance, where campaigns level? are generated on the basis of common A roundtable discussion with agreement amongst all practitioners? representatives from key government SASFED speaks on Challenges and departments and industry organisations, Opportunities ahead SOS and TVIEC including the DTI, IDC, NFVF and DFA. respond to Government Gazette Public Broadcasting Report. The global economic DAY 3 crisis and proactive industry stimulus measures. PANEL DISCUSSION Key Questions Lives Of Others • Is there a common vision for our Making the long form character industry? documentary means filmmakers become • What common ground have we secured part of the lives of their subjects, often and how do we hold onto it as the for long periods of time. What emotional industry faces severe contraction? bonds are formed in the process, what • Do we need to rethink the focus of our are the ethics involved, what becomes campaign as we head into 2010? of these relationships once the film is • What defines the lifespan of the TVIEC complete? and SOS- what happens when the Key Questions emergency ends, and when/if the SABC • How important is the relationship no longer needs saving? between filmmaker and subject to the • On a more positive note, how do we filmmaking process? ensure we influence the shape and direction of broadcasting in South Africa today?

5 GUEST PROFILES established in 2001 and has since grown its investment portfolio to more than R1 Adam Clayton Powell III billion. The Media SBU has been actively Apart from his involved in the motion pictures subsector academic career with more than with approximately 45% Powell has served as of its portfolio invested in the subsector. an executive producer The Media Unit has invested in more at Quincy Jones than 30 motion pictures including Tsotsi; Entertainment, vice Red Dust; Hotel Rwanda; In My Country; president for news Drum, Television programs such as Jozi-H; and information and documentaries like Lions Trail; Ingrid programming at National Public Radio, Jonker and Sophiatown. and manager of network radio and television news for CBS News. As a Bob Coen – dir. Anthrax War consultant, he has worked on projects Guest of the TCFF in South Africa for the Ford Foundation, and in Lagos, Nigeria, for the Nigerian Bob Coen is a Television Authority. He also helped create filmmaker, journalist the annual Highway Africa conference and war correspondent in South Africa, which has become the whose work has largest communications and digital-media always focused on conference on the African continent. uncovering hidden Powell has written extensively about truths. He was technology, media and international based in Africa for issues for publications ranging from The 15 years and as correspondent for CNN New York Times and Wired to USC’s International received the Bayeux Prize for Online Journalism Review. He has won best Television War Correspondent for his numerous awards, including the 1999 reporting from Liberia. His award winning World Technology Award for Media and films, which include, Mozambique – The Journalism, sponsored by The Economist, Struggle for Survival, Angola – Triumph and the Overseas Press Club Award for or Tragedy? and Blood and Memory have international reporting for a series of been broadcast on CNN International, broadcasts he produced on Iran. National Geographic, PBS and Channel Four UK among others. He is also Basil Ford a consultant to the United Nations (Head: Media and Motion Pictures in conflict zones and humanitarian SBU) of the Industrial Development emergencies. Corporation of South Africa Ltd (IDC) The Industrial Brigitte Bagnol Development Brigitte Bagnol is a Corporation of South French anthropologist. Africa Ltd (IDC) is a She lived in self-financing, national Mozambique for 17 Development Finance years after spending Institution (DFI). It was sometime in Italy. established in 1940 She is currently based to promote economic at the Department of Anthropology at growth and industrial development in the University of the Witwatersrand in South Africa. The Media and Motion Johannesburg (South Africa). Brigitte has Pictures Business Unit (Media SBU) was 25 years of experience in the region as an

6 anthropologist-filmmaker specializing in completed her Masters Degree on The development, anthropology of ecology, documentary, a possible remedy to the communication, visual anthropology, disease in African Cinema at Sorbonne sexuality, anthropology of health and University (2005). gender issues. Claus Löser – curator The Fall of the Wall Clarence Hamilton Guest of the TCFF Clarence Hamilton Claus was born in trained as a 1962 in Karl-Marx- filmmaker at Ryerson Stadt (Chemnitz). He Polytechnic, the has been working on premier training music and films since institute for 1980. Between 1990 filmmakers and – 1995, he studied broadcast journalists in Toronto, Canada, and graduated with film in Potsdam- a Bachelor in Applied Arts (Film) in 1990. Babelsberg. He has been a film critic (taz, Since his return to SA in 1992, Clarence Berliner Zeitung, film-dienst) and writer has worked extensively as a writer, since 1992. He also works as a filmmaker, director, executive producer and mentor curator und lecturer in Berlin specializing in the film and television industry. On 1st in experimental / underground cinema August 2007 Clarence joined the NFVF as and film culture. For the Berlinale 2009 he development and production executive. curated the special programme “Winter On 1st April 2009 the NFVF appointed adé“ comprising of 15 films from the him head of development and production. former East Block. He is currently working on a dissertation about East German Claude Haffner underground films and a documentary about the independent art gallery Claude studied „EIGEN+ART“in Leipzig between 1983 documentary and 1989. filmmaking at the Altermedia School David Niddrie in Paris (2002).She directed her first David Niddrie is a film “essay” titled former print and Ko Bongisa Mutu broadcast journalist. (Arrange your head) in a Congolese He was involved hair salon in Paris. In 2004, she filmed in the early 1990s her “promenade” with the French in the initiative to ethnographer Jean Rouch, a few days transform the SABC before his death, and made a vignette from an apartheid state called La canne musicale (The musical broadcaster into a publicly accountable cane). After two years of research on public broadcaster, and serves as head of African Cinema, her last documentary SABC strategic planning for 1994-1996. D`une fleur double et de 4000 autres He was part of the team that conceived (translated as Of a double-headed flower and developed e.tv, South Africa’s only and 4000 others) focused on African private free-to-air channel. Cinema history, as analyzed by her father, Pierre Haffner, one of the first critics of this cinema (2005). Claude has also

7 Eugene Paramoer interests in arts and culture, including eugene paramoer community heritage reclamation. He describes himself as is a founder of The Fietas Festival, a an artist, activst and community cultural initiative to reclaim scholar, believing in the heritage of his birthplace, Vrededorp/ the awkward synergy Pageview (“Fietas”) that was destroyed of art and change... by forced removals under the Group Areas as kino author and Act of apartheid. Feizel’s Of Journey, worker, he has since Home and Treasure, a spiritual take on 1994 acumalated a diverse bouquet identity through the mystical concepts of of factual and fiction film titles... these Rumi, provides the genesis of The Fietas include documentary films like; “boss Festival. of the road”, “the elders come home” and “deafening echoes”. his fiction work Hamid Rahmanian - dir. The Glass includes such titles as; “mountains are House falling”, “bo ke bo phelo” and “thetha Guest of the TCFF msawawa”... an avid scholar of the cinematic art form, he draws inspiration Hamid Rahmanian from the work of dziga vertov, glauber holds a BFA from rocha, robert kramer, ousmane sembene the University of and haile gerima... paramoer believes the Tehran in Graphic fight to get stories told is as important as Design and earned the story itself... to this end he works as an MFA in Computer cultural activist in township based street Animation in 1997 culture movements such as the imbawula from Pratt Institute. trust, kinokadre and a loose coalition of He received “The First Place College southern and east african street culture Award” (a student Emmy) from the movements called frontline. he is currently Academy of Television Arts and Sciences growing a memory fiction feature film and was nominated for a Student on the cape flats called “days and nights Academy Award for his animation, The of love and faya”. paramoer teaches Seventh Day, among other awards in directing and producing at the cape 1997. In 1998, he was hired by Disney peninsula university (cput) of technology’s Feature Animation Company as a Look film department. Development Artist where he worked on Tarzan, The Emperors New Groove Feizel Mamdoo - dir. Of Journey, Home and Dinosaur. His first 35mm film, a and Treasure 19 minute short, An I Within (1988) Guest of the TCFF received Kodak’s Best Cinematography Award and Best American Short from Feizel practices the LA International Short Film Festival. as a film director, He has made three documentaries on producer and writer. video: Breaking Bread (2000), Sir Alfred He is regarded among of Charles de Gaulle Airport (2001) and the forerunners of Shahbanoo (2002), all of which have been establishing “creative well received by the media and worldwide documentary” as a audiences. In 2003 he co-established the genre in South Africa, non-profit organization ARTEEAST – its particularly with What Happened to mission statement to promote the arts and Mbuyisa? which he produced and directed cultures of the Middle East in the US. He to wide acclaim in 1998. Feizel has wide

8 completed his first feature length fiction Holly Lubbock – dir. Fezeka’s Voice film, Day Break (2005) which premiered at Guest of the TCFF the Toronto International Film Festival and has received a special prize at Fajr Film For almost a decade, Fesival in Iran, the Jury Award at Annonay Holly Lubbock has International Festival of First Films and been working in the “Best of the Middle East” from the the British television Indianapolis International Film Festival. industry as a successful He has recently completed his last feature- editor with some of length documentary in Iran, The Glass the UKs top production House companies. Having co- produced and edited the award-winning Harriet Gavshon documentary Rave against the Machine about the effect of civil war on pop Harriet Gavshon is culture in Bosnia, in 2004, she has become one of South Africa’s committed to giving life to humanitarian most experienced documentaries. Fezeka’s Voice is Holly’s television producers. debut feature-length documentary. She began her career as a documentary Hugh Melamdowitz filmmaker and her first film The Ribbon Hugh Melamdowitz was about women’s peace activism in the is a admitted attorney early 80s. She went on to produce South and a partner at the Africa’s first independent documentary intellectual property current affairs series - Ordinary People, law firm Spoor & which was shown all around the world Fisher. Hugh specialises and then a series of diary films -Ghetto in all commercial Diaries before starting to work in aspects of intellectual television drama. Her company Curious property, in particular, copyright and Pictures has produced some of South trade marks. The areas he works in Africa’s most watched television drama include commissioning the creation of series including Soul City, Tsha Tsha, Hard the works, licensing the works and selling Copy, Heartlines, Hopeville and The Lab. the works. Hugh has written numerous Curious Pictures currently produces a articles on intellectual property and, in successful daily drama on etv - Rhythm particular, copyright law. He has also City, and is in production on a 13 hour lectured on copyright at the University series about South African landscape and of Witwatersrand for its Master’s in art called A Country Imagined. Communications Law course. Hugh has also lectured on the relationship between copyright law and the Competition Act at Nelson Mandela University. Hugh is a fanatical sportsman but his activities are currently limited to cycling and fly fishing.

9 Indra de Lanerolle Jean - Pierre Bekolo Obama Indra is an “I want to be able to experienced media act on a local level and communications as well as on the professional who internationally and began his career at the I believe the future BBC. He has produced of the continent television and film in lies in our ability over fifteen countries. to create different His work has been recognised with a patterns for development and educating Peabody Award, an Emmy nomination, a new generation of young Africans and the Silver Lion at the Venice Film to implement those patterns, develop Festival. He is a thought leader on the a positive and favorable international impacts of new network technologies on environment for the continent” media, organisations, social development Bekolo’s debut film, Quartier Mozart, and the economy. Indra lectures at Wits in received the Prix Afrique en Creation the Journalism and Media Programme and at the 1992 Cannes Film Festival. His has presented courses and papers on iptv, second film, Aristotle’s Plot, was one of broadband in Africa, mobile media, and several films commissioned by the British media for education and social change. He Film Institute to celebrate the 100th is Executive Producer of Kwanda (SABC1) anniversary of cinema and included works and Scandal (etv). by Martin Scorsese, Jean-Luc Godard, and Bernardo Bertolucci. Bekolo recently Ingrid Gavshon released Les Saignantes, which premiered Ingrid Gavshon is at the 2005 Toronto Film Festival. Bekolo an award winning, studied film semiotics under Professor independent executive Christian Metz in Paris and has taught at producer and director. the University of North Carolina in Chapel She has produced and Hill and Duke University. directed international and local factual Jeremy Nathan programmes for South African producer Discovery Channel (DCI), YLE, SBS, Jeremy Nathan, CEO Humanistische Omroep Stichting, KRO, of DV8 Films, has VPRO, IKON Television, E-TV and the produced numerous SABC. She started at NBC News in features, television London in 1988 and returned to South dramas, documentaries Africa in 1990 and joined Free Film and short films. Some Makers until 1994 when she formed of the latest films Angel Films. include:Shirley Adams (Locarno, Durban, In 2007, Angel Films expanded their Toronto 09) by Oliver Hermanus, Izulu operations and formed MAYA MEDIA Lami (Dubai, Durban 09) by Madoda with Nhlanhla Mthethwa. MAYA MEDIA Ncayiyana, Zimbabwe (Rotterdam, 08) specialises in historical films, projects and by Darrell Roodt, Bunny Chow by John archive research services. Clients include Barker (Toronto 07), Forgiveness (Ian Corporate Scenes USA and the SAJM Gabriel, Locarno 05), Max and Mona Museum in Cape Town and the RHCC in (Teddy Mattera, Ouagadougou), The Johannesburg. Flyer (Revel Fox, Locarno 06), Boesman

10 and Lena by John Berry (New York 2000), Kate Skinner In a Time of Violence (aka The Line, 4 x Kate Skinner headed 52min) by Brian Tilley, The Foreigner by the communications Zola Maseko, Portrait of a Young Man department for Drowning (Silver Lion Short, Venice 99) the South African by Teboho Mahlatsi, Husk (Cannes 99) Democratic Teachers by Jeremy Handler, So Be It by Joe Gaye Union from 1994 to Ramaka (Silver Lion Short, Venice, 1997), 1999. She launched Jump the Gun by Les Blair (Berlin), Africa the union publication Dreaming (6 x 26 min), Ulibambwe – the Educator’s Voice. Lingashoni (5 x 52 min)history of the She then headed the communications ANC. He has written for numerous department for Mvula Trust, a rural water publications, and spoken and lectured at a NGO. Kate then worked for a number of variety of conferences and schools. independent production houses including Kagiso Education Television and Traffic. Julia Teboho Nzimande Most recently she has been co-ordinating Julia Teboho Nzimande the civil society coalition – “Save our is Deputy-Director of SABC: Reclaiming our Public Broadcaster”. Creative Industries For the last ten years Kate has sat on in the Industrial the board of the Freedom of Expression Development Institute (FXI). She is presently Deputy Directorate within Chair. the South African Department of Kgomotso Matsunyane Trade and Industry. In this position she Kgomotso Matsunyane mainly works on Strategy, Policy and is one of a dynamic Programs regarding sector development breed of new players for the Film & Television unit. Under in the South African her portfolio the unit is responsible for developing Market Access, Incentive media landscape. Development and Business Development She has had a strategies. The revised South African rewarding and varied Film and Television and Co-production history working in Incentive and Foreign Film and Television international and South African media. Incentive schemes are some of the latest An International Relations graduate from achievements from this unit. These two Carleton College in Minnesota (USA), rebate schemes aim to increase local Kgomotso is an accomplished television content generation, to improve location director and documentary producer. She competitiveness, promote and make subsequently worked as a commissioning South Africa a preferred destination of editor for local drama at the largest TV choice for international productions. channel in the country, SABC 1, where Before joining the Department of Trade she was responsible for projects like Gaz and Industry, Julia worked as Legal and ‘Lam, Tsha Tsha and Generations. She Policy coordinator at the National Film completed a successful stint as the editor and Video Foundation. Before that she of O, The Oprah Magazine in South worked for Price Waterhouse Coopers as Africa (one of 2 in the world). Kgomotso a taxation consultant , was a candidate currently runs her own film & TV attorney at Deneys Reitz and she studied company, T.O.M. Pictures, which was Law at The Erasmus University Rotterdam nominated for an International Emmy in the Netherlands. Award in 2007. She wrote a popular

11 weekly column for News24.com, is Phillips), Singers and Swenkas (about currently a columnist for Afropolitan the iscathamiya singing competitions of Magazine. Her talk show, Late night with Johannesburg), and the award-winning Kgomotso has become a favourite on The Silver Fez (about Cape Malay choirs). SABC 2 on Saturday nights. Kgomotso is He moves away from his first love with currently a co-chair of SASFED and is a ease; 10 Gears of Change made the TVIEC steering committee member. official selection at IDFA 2004. Since he then has completed Messy States for the Liza Key – dir. Rewind Cape Arts Platform, Light on a Hill with Guest of the TCFF Justice Albie Sachs (Constitutional Court of South Africa), two films on American Liza Key has directed 6 political filmmaker Lionel Rogosin, An documentaries, among American in Sophiatown (about the them “A Question making of Come Back Africa) and Mans of Madness”, about Peril. Hendrik Verwoerd’s assassin, Dimitri Lucinda Broadbent – dir. Red Oil Tsafendas, and “The Man Who Knows Guest of the TCFF Too Much” about the former Chemical Lucinda Broadbent and Bioligical Warfare chief, Wouter is a founder member Basson. She has been the director of of the Scottish indie SCRAWL, the South African Screenwriters production company Laboratory, since 1998, and was the Media Co-op. Her director of the Mail and Guardian Film filmmaking career Festival from 1986 – 1995. She produced began unexpectedly the performance of “Rewind: A Cantata when she was for Voice and Tape Testimony” at the living in Nicaragua in the 1980s and Market Theatre in 2008 and is developing her involvement in the underground a documentary inspired by Njabulo Nicaraguan lesbian and gay movement Ndebele’s “Cry of Winnie Mandela” with collided with Channel 4’s first gay TV South African composer Neo Muyanga. slots: the result was Lucinda’s first film Sex and the Sandinistas. Since then, Lloyd Ross – dir. The Silver Fez she’s worked as a researcher, AP, director Guest of the TCFF and Executive Producer on TV and non- broadcast documentaries; and served on Following a seminal the Board of the European Documentary career in the South Network. Lucinda’s awards include African music Houston International Film Festival 2009, industry Lloyd Ross Chicago International Film Festival 2007 began shooting and and 2008, NUJ/Amnesty International directing music videos Asylum Awards 2005, BAFTA Scotland in the early nineties nomination 2004 and Amnesty before moving on International Media Award 2004. to documentaries, a number of which featured music: Voëlvry, (about rebel Afrikaner rockers Johannes Kerkorrel and Koos Kombuis), Famous for not being Famous (about SA cult artist James

12 Mark J. Kaplan – dir. Highgate Hotel achievements from this unit. These two Massacre rebate schemes aim to promote and make Guest of the TCFF South Africa a preferred destination of choice for international productions to Mark’s formal training shoot in our shores. in Video and Film Before joining the Department of Trade Production took place and Industry Nadia worked as Special at MIT, Massachussetts Assistant on Investment Promotion Institute for and Aftercare in the Office of the Chief Technology where he Operations Officer at WESGRO the completed a Master official Investment and Promotion agency of Science in Visual for the Western Cape. Studies (1983-85). Mark has produced two 13-part Pan Neil Brandt African Television & Radio documentary Neil, a UCT graduate series, Africa: Search for Common Ground in psychology and and African Renaissance and directed a law, has produced range of films around the TRC which have films that have won won numerous international film awards, many awards locally including Best International Documentary and internationally. for 1999 at The One World Media Awards His documentaries in London and Best of the Fest at the have explored themes Vermont International Film and Television as diverse as the nature of peace in Awards 2000. In 2004, Between Joyce war-torn Angola, to what it takes to and Remembrance was selected for INPUT be a Constitutional Court Judge, to the in Barcelona and it was the Opening night consequences of violence on the Cape film at the New York, 10 Years of Freedom Flats. They have screened on most major Festival of South African Films. broadcasters worldwide. His company www.fireworXmedia.co.za is also active in Nadia Sujee feature and television production. He is a Nadia Sujee is founding member of Filmmakers-Against- Director of Creative Racism, and sits on the SASFED IP sub- Industries in the committee. Industrial Development Directorate within Patricia van Heerden the South African Pat van Heerden Department of Trade resigned as Head of and Industry. In this Entertainment for the position she is in charge of Strategy and SABC in April 09. She Programs and heads the Craft, Film & is presently consulting Television unit, with a new unit to head on various projects Music and Design about to be added including broadcast to her portfolio. Under her leadership strategies and is a he unit is responsible for developing conceptual and creative producer of Market Access, Incentive Development programming for local and international and Business Development strategies. platforms. The revised Co production and Locations Prior to moving to Head of Entertainment Rebate scheme are some of the latest she was the Commissioning Editor for

13 Factual Programming at SABC1. While at brilliantly provokes social discourse and SABC1 she commissioned Project 10, 13 explores contradictions on liberty, identity, documentary films to celebrate 10 years culture and humility. His conscientious of freedom in South Africa. The Project works fitfully uphold, challenge and mock premiered at the Berlin festival and at social values. Diphare took the resolute Sundance. Some of the films were invited documentary oath and set off his career to Vision du Reel, Toronto Hot Docs, scouring informal technique master Tribeca Film Festival and Cannes. classes” Pat has sat on various international panels and been a jury member for documentary Renee Williams film and entertainment programming Renee Williams joined the SABC in including: Vision du Reel; IDFA; INPUT, April 2008. She is the head of Industry Rose d’or, and Spanish Human Rights Development & Special Projects. Prior Investigative programming. to joining the SABC, Renee was an independent Producer who produced Pepita Ferrari – dir. Capturing Reality: youth dramas, educational series and The Art of Documentary children’s programming. Renee produced Guest of the TCFF independently through her production company since 1997. Previously she line Pepita Ferrari has produced numerous drama series. been directing documentaries for Robbie Thorpe over 15 years. Her films have received Robbie has worked recognition from in film and television, Le festival due firstly as an editor cinema au feminine and later as both a du Bordeaux, the Canadian Society of producer and a director Cinematographers and the Columbus for over 20 years. For International Film and Video Awards. his company T.O.M. Previous documentaries include pictures Robbie By Woman’s Hand, The Petticoat has produced over a hundred hours of Expeditions, Joseph Giunta: A Silent television. Feature films include the multi Triumph and The Unsexing of Emma award winning Gums & Noses and the Edmonds. recently completed Stiff a co-production with Videovision. Robbie is currently Pule Diphare developing In the Shadow of a Saint a South Africa/Canada co-production “Outspoken, Pule starring Djimon Hounsou (Blood Diphare is a self- Diamond). Recent television includes the taught creative Emmy nominated comedy series Sorted and freethinker. He and the highly rated drama series A Place is award-winning Called Home. and accomplished documentary filmmaker. He assumes documentary film as a socio-cultural tool and creates short and discordant works for self-reflection, memory and meditation. Personal and anecdotal, he

14 Sean McAllister – dir. Japan, The Story Inja (Academy Award nominee), Boy of Love and Hate Called Twist (Cannes) and Project 10: Guest of the TCFF Real stories from a free South Africa (Sundance, Berlin, HotDocs and Tribeca). After leaving school at 16 Sean worked in and Tendeka Matatu out of factories before Tendeka Matatu is finding a camera and one South Africa’s filming his way into most prolific feature the National Film film producers. His School. He graduated credits include; the in 1996.Over the multi award-winning past 12 years Sean McAllister has made Max & Mona by Teddy films for both the BBC and Channel 4; Mattera, the box working in the UK, Israel, Iraq, and most office hit, Crazy Monkey , Footskating recently Japan. His films are intimate 101 and most recently the action-drama portraits of people from different parts of epic Jerusalema, which was officially the world who are survivors; caught up in selected for the 2008 Berlin Film Festival political and personal conflict struggling and released in South Africa to critical to make sense of the world we live in. and box office acclaim. Over and above From Working with the Enemy in 1997 production Tendeka is involved in sales to Japan: A Story of Love and Hate in and distribution, his latest release White 2008 his absorbing films have received Wedding broke local Box Office records prestigious nominations and awards - on it’s opening weekend beating off including from the Grierson Trust, the competition from the likes of Wolverine Sundance Film Festival, the Florence and Hannah Montana.Currently based Film Festival and the British Independent in Cape Town, Tendeka continues to Film Awards (BIFA).Nominations for develop, produce and release feature McAllister’s films include the Directors films through his company Ten10 Films. Guild of America and Royal Television The company specialises on working with Society Awards. new and established talent to tell socially relevant stories through inspired and Steven Markovitz compelling cinema. South African born Steven Markovitz holds an Honor’s degree in African History from the University of Cape Town and has been involved with film since 1989. He is a founding director of production company Big Word Cinema as well as Encounters South African International Documentary Film Festival, and has produced and executive produced numerous documentaries, features, shorts and series from all over Africa including

15

Haffner and SACOD

(SA) as a backdrop, (SA) as a backdrop, including our borders, from beyond filmmakers encourages Brigitte Bagnol Dr. Obama (Cameroon), Claude Jean-Pierre Bekolo representatives (regional) to address their South African counterparts. AUDITORIUM SCREENING AND DISCUSSION National Chauvinism Respond to South Africa’s Regional Filmmakers Mozambican producer violence last year, of xenophobic the outbreak Following Pimenta cut all relations with SA, including its filmmakers. Pedro Racism against (Moz) and Filmmakers and Hate of Love With excerpts from Frontier

Niddrie Thursday 10th September 2009 10th September Thursday PROGRAMME LUNCH AUDITORIUM Rehad Desai by WELCOME & INTRODUCTION AUDITORIUM ADDRESS KEYNOTE Broadcasting Public Vision for The on the intersection of head of Curious Pictures will focus broadcast, Harriet Gavshon the shape of public for and advocacy in lobbying involved Actively broadcasting is working and where it is struggling or has failed. public and where the vision for and in doing so look at how and policy, practice AUDITORIUM SESSION PLENARY Ecology in Crisis: Broadcasting Public of yester broadcasters public has seen the powerful environment, multi-channel evolving a rapidly by followed free to air stations, of private The advent Broadcast Service In the process the Public mandate has been interpreted of in a number share. audience to falling respond in a myriad of ways year these interpretations been adequately interrogated? But have to regain and or maintain audience loyalty. ways (UK) (Canada) Lucinda Broadbent Ferrari from (SA)leads internationalPepita Jane Duncan perspectives Professor (Iran) Bob Coen (USA) and Hamid Rahmanian TEA SEMINAR ROOM DEBATE Repositioning for Document Discussion The Gazetted: National Development for Broadcasting An interrogation of the Department recent of Communications public for mandate developmental a on document discussion broadcasters. , David Themba Langa DOC Ministerial task team’s (SACP consultant on PBS), Feizel Mamdoo (SASFED chair) (SACP discussion this to respond co-ordinator) (SOS and Kate Skinner SABC Act. a draft towards 13h00 09h15 09h45 11h15 11h30 09h00

16

Clayton Powell III Powell Clayton Due to limited space pre-booking essential Due to limited space SEMINAR ROOM SEMINAR CLASS MASTER The Art of Capturing director Reality: Ferrari Pepita of Documentary, deals with • Finding the story The Production Process • “Truth” • Documenting *  AUDITORIUM DISCUSSION PANEL On Convergence a just than more is reality in convergence “Media It alters the relationship that shift in technology. industries, technologies, between already exists A Jenkins Henry markets” and genres audiences, Adam discussion led by Panel (SABC (SABC Nabee Expert) with Yusuf (Convergence DDT Expert)(Ochre and Indra de Lanerolle Media) CLASSROOM 1 CLASSROOM DISCUSSION PANEL Documentary of State The Scratch: from Starting Today seen has commercialization global of impact The formats. into prescriptive content boxed factual thereby are genre the of traditions fine the of Many threatened with extinction. chairs (SASFED) Kgomotso Matsunyane (SA Heerden van Pat a discussion between (SA filmmaker) Ingrid Gavshon filmmaker) Clarence (SA filmmaker), Markovitz Steven Hamilton (NFVF) and Dominique Olier (FRANCE AFRICADOC) AUDITORIUM DISCUSSION PANEL Property Intellectual The - Own to Right The debate Continues. raising are worldwide content cultural of creators The right a have argument is that they Their their voices. Intellectual Propertyto utilise their inherent in order formats new from the many to economically benefit sprung up. have and mediums that contest these commissions “own” Broadcasters who the creation of content. for paid rights they’ve as (Spoor and Fischer), Hugh Melamdowitz (Industry consultant) Vawda Shamima Nhlanhla Sibisi (SABC IP specialist) Pule Diphare (SASFED IP Subcommittee) Desiree Markgraaff (IPO) IP (SASFED Neil Brandt by Moderated subcommittee)

on how how on Due to limited space pre-booking essential CLASSROOM 1 CLASSROOM CLASS MASTER director , award-winning Hamid Rahmanian , gains exceptional of The Glass House viewers allowing characters, his to access his of lives the through journey intimate an beautiful a prioritising still while subjects shares his methods The filmmaker frame. the negotiating of working with characters, aesthetic and narrative between balance choices and his unique approach to filmmaking. * SEMINAR ROOM DISCUSSION AND PRESENTATION Doc your Finding Finance for Nzimande Nadia Sujee and Julia the at Industries Creative of executives and Industry (DTI), Trade Department of finding on producers documentary address focus on incentives finance with specific engage and department the by provided from the DFAwith representatives could scheme rebate production local the “doc- friendly”. be more TEA 15h30 15h45 14h00

17 Due to limited space pre-booking essential GALLERY CLOSED SESSION: Interim Board Engages industry Specialists. 1 CLASSROOM MASTERCLASS and ins the covers War Anthrax of director Coen Bob documentary making including outs of investigative journalistic how inquirygaining access, translates of the advantages and and pitfalls into film narrative for serious journalism. medium of film *  AUDITORIUM DISCUSSION PANEL Today Film The Essay Writers: Camera but its importance on the margins, is tied not often lived film has “The essay for to its potential structure, but to its position inside or outside of the power film? essay But what are the qualities that define the questioning that power.” and Hate Bob Coen Anthrax A Story of Love With Sean McAllister Japan: The Art of Documentary and Neil Ferrari Capturing Reality: Pepita War Days Brandt Sea Point SEMINAR ROOM AND DISCUSSION PRESENTATION Terms? in A contradiction Bank: Development division of the Independent pictures , head of the moving Basil Ford in the the role and vision of the IDC Corporation, explains Development African of the South film industry. and transformation development Raleigh (Film Finances) and Respondents include Paul Williams (SABC) Renee AUDITORIUM ROUNDTABLE Opportunities and Challenges for Today. Producers feeling the crunch as the are filmmakers Active has gone into global recession and economy What are the the SABC has slashed spending. opportunities coordination and prospects for agencies and what are the of government face at a project challenges that filmmakers and industry level? (IDC), Clarence Hamilton (NFVF), Basil Ford Nzimande (DTI) and Ingrid Gavshon Julia Thorpe Robbie by Moderated discuss. (DFA) SEMINAR ROOM DISCUSSION PANEL Documenting Memory Ghosts of the Past: dusty photographs, home-video, Scratchy sound recordings and fragile crackly deal with the memories… do filmmakers how past? Phillip Miller and Liza Key inputs by Key , Claus Löser Counter Images, Mark Rewind Kaplan Highgate Hotel Massacre, Khalo and Vincent Black were Matabane When we of Boots and a Bicycle Moloi A Pair Friday 11th September 2009 11th September Friday PROGRAMME AUDITORIUM DISCUSSION PANEL Challenging Distribution less landscape has made filmmakers distribution The ever-shifting for and blockades as the old bottlenecks dependant on middlemen is the documentary How wide open. are burst content distribution industry this change? reflecting Janice Boris (Next (Encounters Distribution) Markovitz With Steven Nathan (DV8) and Jeremy Video) GFC Independent Cinema Rep Films) Matatu (Ten10 Tendeka by Moderated AUDITORIUM SCREENING AND DISCUSSION Citizen Journalism, Media Uprising: Activism and Revolution VJ and A Little Bit of So As seen in Burma amateur , the lines between Truth Much media activists and filmmakers videographers, of the mass availability by been blurred have be it video phones in Mexico cheap cameras, An opportunityor handy cams in Burma. to celebrate? (SA filmmaker) Heerden van Pat Chaired by Red Oil, Prishani with Lucinda Broadbent WITS) and Eugene Naidoo (Indy Media/ (SA Filmmaker) Paramoer SEMINAR ROOM DISCUSSION PANEL Threats to Freedom for Recent DOC POLICE: Documentary social role of the documentary is the A key This spotlight it turns on state and society. and means both blatant is often resisted by devious. With Hamid Rahmanian The Glass House and and Behind the Rainbow Markovitz Steven others TEA LUNCH TEA SEMINAR ROOM PITCHING SESSION If I were Commissioning brief writing and content for Commissioning editors pitch their strategies in attendance. selection to filmmakers (EX SABC) and Beathur Baker (EX Heerden van Pat Chaired by from SABC, ETV and MNET. SABC), with commissioning editors 11h15 11h00 09h00 13h00 15h30 15h45 14h00

18 09h00 AUDITORIUM SEMINAR ROOM PANEL DISCUSSION PRESENTATION AND DISCUSSION Challenging Distribution Development Bank: A contradiction in Terms? The ever-shifting distribution landscape has made filmmakers less Basil Ford, head of the moving pictures division of the Independent dependant on middlemen as the old bottlenecks and blockades for Development Corporation, explains the role and vision of the IDC in the content distribution are burst wide open. How is the documentary development and transformation of the South African film industry. industry reflecting this change? Respondents include Paul Raleigh (Film Finances) and With Steven Markovitz (Encounters Distribution) Janice Boris (Next Renee Williams (SABC) Video) GFC Independent Cinema Rep and Jeremy Nathan (DV8) Moderated by Tendeka Matatu (Ten10 Films) 11h00 TEA 11h15 AUDITORIUM SEMINAR ROOM GALLERY SCREENING AND DISCUSSION PANEL DISCUSSION CLOSED SESSION: Media Uprising: Citizen Journalism, Ghosts of the Past: Documenting Memory Interim Board Engages industry Specialists. Activism and Revolution Scratchy home-video, dusty photographs, As seen in Burma VJ and A Little Bit of So crackly sound recordings and fragile Much Truth, the lines between amateur memories… how do filmmakers deal with the videographers, media activists and filmmakers past? have been blurred by the mass availability of Key inputs by Phillip Miller and Liza Key cheap cameras, be it video phones in Mexico Rewind, Claus Löser Counter Images, Mark or handy cams in Burma. An opportunity to Kaplan Highgate Hotel Massacre, Khalo celebrate? Matabane When we were Black and Vincent Chaired by Pat van Heerden (SA filmmaker) Moloi A Pair of Boots and a Bicycle with Lucinda Broadbent Red Oil, Prishani Naidoo (Indy Media/ WITS) and Eugene Paramoer (SA Filmmaker) 13h00 LUNCH 14h00 SEMINAR ROOM AUDITORIUM CLASSROOM 1 PANEL DISCUSSION ROUNDTABLE MASTERCLASS DOC POLICE: Recent Threats to Freedom for Opportunities and Challenges for Bob Coen director of Anthrax War covers the ins and Documentary Producers Today. outs of investigative documentary making including A key social role of the documentary is the Active filmmakers are feeling the crunch as the gaining access, how journalistic inquiry translates spotlight it turns on state and society. This economy has gone into global recession and into film narrative and pitfalls and advantages of the is often resisted by means both blatant and the SABC has slashed spending. What are the medium of film for serious journalism. devious. opportunities and prospects for coordination * Due to limited space pre-booking essential With Hamid Rahmanian The Glass House and of government agencies and what are the Steven Markovitz Behind the Rainbow and challenges that filmmakers face at a project others and industry level? Basil Ford (IDC), Clarence Hamilton (NFVF), Julia Nzimande (DTI) and Ingrid Gavshon (DFA) discuss. Moderated by Robbie Thorpe 15h30 TEA

15h45 SEMINAR ROOM AUDITORIUM PITCHING SESSION PANEL DISCUSSION If I were Commissioning Camera Writers: The Essay Film Today Commissioning editors pitch their strategies for brief writing and content “The essay film has often lived on the margins, but its importance is tied not selection to filmmakers in attendance. to its position inside or outside of the power structure, but to its potential for Chaired by Pat van Heerden (EX SABC) and Beathur Baker (EX questioning that power.” But what are the qualities that define the essay film? SABC), with commissioning editors from SABC, ETV and MNET. With Sean McAllister Japan: A Story of Love and Hate Bob Coen Anthrax War Pepita Ferrari Capturing Reality: The Art of Documentary and Neil Brandt Sea Point Days

Saturday 12th September 2009 09h00 CLASSROOM 1 AUDITORIUM SEMINAR ROOM MASTERCLASS: PANEL DISCUSSION: PRESENTATION: Sound Memory Meaning Lives of Others Africadoc Often cast in a supporting role, sound Making the long form character documentary Dominique Olier presents Africadoc, a and music can lead as character, means filmmakers become part of the lives of programme for the development of African narrative and meaning. their subjects, often for long periods of time. What Documentary Cinema- a subsidiary of Lussas: emotional bonds are formed in the process, what Les Etats Generaux du Film Documentaire Pepita Ferrari Capturing Reality: The are the ethics involved, what becomes of these France’s premiere documentary festival. Art of Documentary chairs a panel relationships once the film is complete? including composer Phillip Miller Rewind, Feizel Mamdoo Of Journey, With Lloyd Ross The Silver Fez Hamid Home and Treasure and Holly Rahmanian The Glass House and Sean Lubbock Fezeka’s Voice Mcallister Japan: A Story of Love and Hate

11h00 TEA 11h15 CLASSROOM 2,3,4 SEMINAR ROOM CLASSROOM 1 BREAKAWAY SESSIONS: MASTER CLASS: MASTER CLASS: TVIEC MEETING Auteur filmmakerSean McAllister Japan: A Story Lucinda Broadbent, director of Red Oil and of Love and Hate discusses the importance of Sex and the Sandinistas, discusses recurring SACOD MEETING casting and other processes that guide him when themes in her films. NETWORKING TIME finding his story. 13h00 LUNCH 15h45 AUDITORIUM PLENARY SESSION TOWARDS A CAMPAIGN It has been a remarkable year so far for the South African film industry. The industry has displayed a unity, identity and organisation not seen before, led by established industry bodies and new coalitions. What lies beyond the industry’s immediate battles? Can professionally centred organisations generate the necessary unity of vision to sustain a campaign of action? Or should the federation simply work as a tactical alliance, where campaigns are generated on the basis of common agreement amongst all practitioners? • SASFED speaks on Challenges and Opportunities ahead • SOS and TVIEC respond to Government Gazette Public Broadcasting Report • The global economic crisis and proactive industry stimulus measures.

19 17h00 WRAP and drinks