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Welcome to the 22Nd Annual Full Frame Documentary Film Festival!

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Welcome to the 22Nd Annual Full Frame Documentary Film Festival! Welcome to the 22nd annual Full Frame Documentary Film Festival! This is the tenth time I have had the privilege, in my role as festival director, of welcoming you to the Bull City; the tenth time I am humbled to work with an amazing crew of people, supported by almost 400 volunteers; and the tenth time I’m asking us to open our eyes, our minds, and our hearts to almost 100 films from around the world. We are joined this year in our celebration and contemplation of documentary film by many talented artists and friends. Among them are Julia Reichert and Steven Bognar. While their involvement at the festival goes back almost two decades, Julia and Steve were cen- tral to my first Full Frame, in 2010, when they curated our Thematic Program, “Chair-Making, Ship-Breaking, Pole-Dancing, Coal-Mining, Thread-Cutting, Cart-Pushing, Cane-Cutting, Chain- Forging: Films on Work & Labor.” Their Oscar®-nominated short of that same year, The Last Truck: Closing of a GM Plant, remains a favorite of mine today; in it, their visual storytelling matches the narrative arc of the story, and the film ends with an exterior shot of the plant shutting down— from afar we watch the lights go out one by one—resembling a great dinosaur lying down to die. We are so pleased to welcome them back to Durham and to salute them with the 2019 Full Frame Tribute—two filmmakers who not only have made a mark with their insightful, prolific work, separately and in tandem, but who also surround themselves with young talent and have men- tored so many who are now important storytellers in their own right. Julia and Steve are dear to our Full Frame team. It is an honor to celebrate their careers and share their newest film on Opening Night, American Factory, their return to the same plant featured in The Last Truck. Full Frame’s relationship with RaMell Ross began more recently. Recipient of the Garrett Scott Documentary Development Grant in 2014, recipient of last year’s Grand Jury Award (for Oscar® nominee Hale County This Morning, This Evening), and summer mentor for the School of Doc, funded in part by the Academy of Motion Picture Arts & Sciences, RaMell has become a strong voice of our community. In creating a Thematic Program, “Some Other Lives of Time,” that reflects the essence of the festival’s curatorial spirit, RaMell leads us on an exploration of documentary’s ability to leave space for interpretation and shows us how wide-ranging the form can be in its visual and sonic expression. The work he has chosen offers a thrilling journey through the vast expanse of the medium’s terrain. As we gather again to connect, to make space for hard conversations and joyous reunions, we surrender ourselves to four days of turning the lens on matters outside ourselves, yet of our- selves. We lose our preoccupation with the constant noise of social media, the 24-hour news cycle, and the din of our daily routine to explore the simple magic of the projected image on the screen with a community of heart-forward and intellectually hungry minds. Thank you for joining us, and welcome to Full Frame 22. DeIRDRe HAJ Director, Full Frame Documentary Film Festival 2 WELCOME NEWSTAFF DOCS 3 “It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the Festival Staff fact that we are surrounded by it.”—John BeRGeR, Ways of Seeing FULL FRAME STAff Artist Services Coordinator What work does documentary film do in the wider world? Director, Center for Documentary Studies Jamie Webb John Berger’s pathbreaking television series Ways of Seeing—which Wesley Hogan resulted in a 1972 book of the same name—invited people to understand Interns the visual world in a new way. “The relation between what we see and Festival Director Katherine Buchholz, Clara Lawry, Catherine Tsang, Jack Whitehurst what we know is never settled,” he observed. Deirdre Haj These days Berger’s formulations keep coming to mind. He posited that historically, the IT Support visual arts were to be found in a “magical or sacred” preserve—a cave in earliest communities, Programming Allen Creech a museum in more recent epochs. Art was ritualistically, and physically, set apart from day- Artistic Director to-day life. Yet by the 1970s, Berger found art detached from the preserve, and everywhere Sadie Tillery Program Editors instead: “ephemeral, ubiquitous, insubstantial, available, valueless, free.” Art’s past authority Liz Smith, Alexa Dilworth, Liz Phillips Programming Manager had given way, he argued, to a language of mass-reproduced images. Kate Rogers Programming Assistant “The art of the past no longer exists as it once did. Its authority is lost. In its place is Katelyn Liu a language of images. What matters now is who uses that language for what purpose.” Production Berger asks us to move from “innocence and ignorance” in the creation of an informed Production Co-Director Publicity viewership; he calls for communities to think critically about the images we encounter Dan Partridge Sylvia Savadjian everywhere—to demand context so that we are able to recognize and understand more clearly Production Co-Director our relationship to the subjects of images. Volunteer Coordinator Lani Simeona Mary Russell At Full Frame we return each year to a version of those sacred caves of art’s earliest incarnation—our theaters. The name of our festival itself calls forth its purpose: We want Marketing Volunteer Coordinator Assistant filmmakers and audiences who are open to the full range of documentary’s possibilities. Leon Rice Marketing Director And we ask audiences and filmmakers to contextualize, discuss, debate. Michelle Benham Digitized images and the simultaneous democratization and weaponization of the camera, Technical Staff as well as the proliferation of social media, make Berger’s work ever more prescient. Communications Manager evolving technologies require evolving questions: In a world where visual language is already Christopher Everett Technical Director the coin of the realm, who tells the story? Who frames the shot? What complexities or nuances Colin Kelley are edited out, or kept in? Who are the gatekeepers and influencers deciding which stories are Development Technical Coordinator seen, and which ones aren’t? What ethical considerations must we keep in mind as we wrestle Senior Development Associate Channing Duke with access to accurate information or follow the european Union debate about online privacy, Savannah Lennertz the “right to be forgotten”? What different documentary genres and narrative strategies must Technical Assistant Javin Griffin be created to reflect new global realities and representations? Development Associate Welcome to a festival that takes such questions seriously and offers multiple venues in Angie Potiny Quince Imaging Operations Manager which to engage both filmmaking teams and audience members. As we sit in the dark together Ryan Crossley during these four days, sifting through the image-languages offered in this year’s films, I invite Administrative you to consider with new energy Berger’s insight: What matters now is who uses that language Finance Business Manager, Engineers for what purpose. Center for Documentary Studies Jeremy Broadhurst, Evan Doss, Matt Hayes, Gail Exum James Hurley, Dakota Milam, Bill Ogonowski, WeSLeY HOGAN Nesim Serequeberhan Director, Center for Documentary Studies at Duke University 4 BOARDSNEW & COMMITTEESDOCS SPONSORS 5 Full Frame is extremely grateful to the following partners for their generous support. Presenting Sustainer FESTIVAL ADVISORY BOARD Duke University 97.9 The Hill WCHL and Chapelboro.com Martin Scorsese Honorary Chair Academy of Motion Picture Arts and Sciences Alan Berliner Leadership Career Pathways Initiative of the Thomas S. Kenan Doug Block Institute for the Arts at the University The City of Durham Nancy Buirski, Founder of North Carolina School of the Arts Quince Imaging Charles E. Guggenheim Family S. Leo Chiang PROGRAMMING Durham Arts Council Marshall Curry COMMITTEE Supporting Greater Durham Chamber of Commerce R.J. Cutler Nancy Kalow A&E IndieFilms HBO Chris Hegedus Motorco Music Hall Winifred Fordham Metz Aloft Durham Downtown Steve James Netflix Ted Mott American Tobacco Campus and Barbara Kopple Capitol Broadcasting Company, Inc. Drs. Barbra and Andrew Rothschild Kate Rogers Ross McElwee Durham Marriott City Center Theo Davis Printing Sadie Tillery Stephen Nemeth Horizon Productions UNC-TV Public Media North Carolina D A Pennebaker North Carolina Arts Council The Woke Coach LLC Laura Poitras SELECTION Associate Sam Pollard COMMITTEE Benefactor DTA Global Barbra Rothschild BREAKIRON Animation & Design Laura Boyes Durham Parks and Recreation Bernardo Ruiz The Carolina Theatre Brett E. Chambers Filmmaker Magazine/IFP Toby Shimin DesignHammer Tyra Dixon GoDurham Andrew Solt The Durham Hotel IBM Marc Maximov The Forest at Duke David Sontag KONTEK Systems Danette R. Pachtner Giorgios Hospitality Group Molly Thompson Neomonde Mediterranean Darrell Stover The Mary Duke Biddle Foundation Roger Ross Williams PSAV National Endowment for the Arts Marie C. Wilson Alan Teasley Thunder Mountain Media The Reva and David Logan Foundation Nicole Triche Tobacco Road Sports Cafe Unscripted Durham Tom A. Wallis Velasquez Media TRIANGLE ADVISORY BOARD Tom B. Whiteside Vickery’s Airbnb Patrick Baker Contributor WUNC Leon Capetanos Alamo Drafthouse Cinema Kathi Eason FILM SCREENERS Durham Convention Center Friend Bobbi Hapgood Stephanie Barnwell Merge Records The Boot/Geer Street Garden/Happy Cardinal Catering Bill Hayes Belem Destefani Bull City Burger and Brewery/Pompieri Pizza Bungalow Gifts and Home Decor Eric Johnson Andrea Mensch Partner The Chicken Music and Sound Design Nancy Kalow Rebecca Mormino Ad Resources, Inc. Adam Pyburn Motion Design COPA Julie Morris Maria Pramaggiore Counter Culture Coffee Duke Energy Barry Poss Robyn Smith Freudenberg IT LP (FIT) Durham Central Park Gregory Rapp Fullsteam Brewery Guglhupf Bakery Benjamin Reese, Jr.
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