Award
for Best Use of Footage in a History Factual Production
SPONSORED BY
Ascent Media Restoration Dept
Nomination details
Cited Work |
Camarades, il était une fois les communistes français |
Production Company |
La Compagnie des Phares et Balises |
Producer |
Jean Labib |
Director/Writer |
Yves Jeuland |
| Film/VT Editor |
Dominique Barbier |
Archive Researcher (s) |
Marie France Pirotte |
| Top Sources of Footage |
Cine Archives |
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INA Media |
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Gaumont Pathé Archives |
Duration |
80 mins x 2 episodes |
First Shown |
France 3, 10/04/04 |
Country of Origin |
France |
Synopsis |
One page in the history of French society seems to have been turned over for good with the advent of the 21st century, it is that of communism. The communist electorate collapsed, the Party lost its social bearing, and a whole universe broke down. However, it was not so long ago that French communists made up a counter-society. At that time PCF, the French communist party, was the biggest in France, with its own offices, departments, and cultural and sporting organizations: its own regional newspapers and its untouchable bastions, from the Greater Paris belt to the Red South, from the northern region of Lille to the southern one of Limoges. Going into the ‘Party’ was like going into religion. It had its own heroes, legends and myths. You were either for or against it. |
Reasons for Submission |
Sixty years of communist life in France is shown and illustrated in this documentary, supported by exceptional archive documents, militant films, songs, previously unseen reports from the famous faces of the time, and enriched with interviews of militant families - miners from the southern ‘Gard’ region, agricultural workers from northern ‘Haute-Vienne’ and railway workers from the Pas-de-Calais region bordering the English Channel, to name but a few. This is a collective and intimate adventure, it is the sum of many fates, by turns moving, funny and cruel, which helps to show the rites and values of France at a certain time, shedding light on the ‘comrade’ culture. |
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| JURY COMMENTS |
Intelligent and innovative use of footage, well documented and researched. The footage leads to reminiscences in an unforced way. Wonderful editing and impressive rarely seen footage. |
Cited Work |
Andere Tijden (Different Times)
Eps: Het leven ging door (Life went on) |
Production Company |
NPS |
Producer |
Laura Kaandorp |
Director / Writer |
Ad van Liempt |
| Film/VT Editor |
Rombout van Sonsbeek |
Archive Researcher (s) |
Gerard Nijssen & Suzanne Hendriks |
| Top Sources of Footage |
Smalfilmmuseum |
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RVD |
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NIBG
(Dutch Institute for Sound and Images) |
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B. Postema (private collection) |
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Van Dam (private collection) |
Duration |
70 minutes x 18 episodes |
First Shown |
Nederlands 3, 4/05/2004 |
Country of Origin |
The Netherlands |
Synopsis |
What did ordinary life look like during the Second World War? Andere Tijden is a special series, totally dedicated to this topic. During the war, people had to sleep, eat, work and occasionally they even had parties. Life went on shows images never shown before of transport, parties, hiding, food aid and the liberation. The programme is a selection of 25 hours of amateur film from the Smalfilmmuseum and regional and private collections. Fragments from diaries are chosen to accompany some parts of the film. |
Reasons for Submission |
Because the clips are usually without sound and we just used some excerpts from diaries all the attention is drawn to the images. It was an experiment to see if a film, partly without sound, would work. We think it did work perfectly. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JURY COMMENTS |
A brave move on the part of the producers to allow raw (and rare) archive of occupied 1940’s Holland and the Allied liberation to be allowed to speak for itself. With no attempt to cosmetically render or re-edit the stark images portrayed, the viewer is forced to contemplate the events as filmed at the time, without distraction. A sobering experience. Eschewing soundtrack on some segments worked to profound effect. By resisting all attempts to “make a TV programme” the producers have used selected footage to full & powerful effect.
Wonderful footage. |
Cited Work |
Mr Patterns |
Production Company |
Film Australia |
Producer |
Nic Testoni, Jo Plomley, Megan McMurchy |
| Director |
Catriona
McKenzie |
| Writer |
Nic Testoni, Jo Plomley |
| Film/VT Editor |
James Bradley |
Archive Researcher (s) |
Nic Testoni, Jo Plomley |
| Top Sources of Footage |
Geoff Bardon |
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ABC Content Sales |
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BMW Group Australia |
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Newspix |
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Auspic |
Duration |
54 minutes |
First Shown |
Margaret Mead Film Festival, New York, 14/11/2004 |
Country of Origin |
Australia |
Synopsis |
In the 1970s at the Aboriginal settlement of Papunya in Australia’s Western Desert, a teacher named Geoff Bardon helped start one of the most significant art movements of the 20th century. |
Reasons for Submission |
The story of Mr Patterns is told through the use of a private collection of archival films shot by the subject of the film, Geoff Bardon. Made during the 1970’s whilst working as a teacher in Papunya, Geoff Bardon’s films and his many stills amount to wonderfully rich source of visual material some of which until this year had never been seen before. His films provide images of the landscape and people from Australia’s Western Desert in the sixties and seventies and is a filmic “eye-witness” to life at Papunya. Some segments came from unedited 16mm film footage shot by Geoff on his Bolex showing various scenes of the Artists and their families, landscapes surrounding Papunya, the Honey Ant Mural being painted, etc. The clearance process for this material involved seeking consent from the Indigenous arts agencies before including this archival collection in the program. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JURY COMMENTS |
A compelling and beautifully crafted documentary, pivotally constructed around the 1970’s amateur film shot by Geoff Bardens in Papunya. As the only film record of Australian Western Desert Art and its subsequent evolution, this 16mm footage is of principle sociological and historic importance in its own right. But in the overall context of the documentary, the footage wonderfully evokes the “Dreamings” at the source of the art & culture of the indigenous people of Papunya.
Sensitive integration of Bardon's home movies into the structure of the film. A terrific brilliantly told story, fascinating footage.
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