The Spaces Between Grassroots Documentary ... - Ezra Winton

the report continues, the authors acknowledge this aspect of these types of practices when
they write:
Films can mobilize communities and activist networks, build new
community partnerships; reinforce the resolve of the committed and
converted, help lead to policy changes; “educate” within both formal and
informal networks. Films can enter public discourse through community
forums, conferences, theatrical screenings, print and broadcast media,
universities and schools, grass-roots organizations and target groups.
(2005, p.6)
The twin effects of social mobilization and the rupturing of the (dominant) public
discursive space(s) are identified here, and it is no coincidence the report begins the
section with reference to The Corporation.
Achbar reiterates these outcomes of the grassroots d/e of The Corporation, and
describes the original movement of the film:
After the rave in BC organizers of Evolve, an outdoor music and cultural
rave-like event on the East Coast, quickly heard about the film and wanted
to screen it there. The buzz happened that quickly, so I set off for Halifax.
After Evolve I went with the film to Burning Man in the Black Rock
Desert, Nevada. It’s a massive counter-cultural event that brings thousands
and thousands of artists, activists, freaks and others together for a weeklong
celebration of community and fringe culture in the middle of the
desert. The film was shown as part of an art installation [described in the
introduction to this thesis] and people talked a lot about it, were curious.
After that, there were other grassroots screening, such as the Cinema
Politica screenings in Halifax and Montreal, where we had 800 students
and public turn up. There were NDP screenings, Council of Canadian
screenings, the Green Party and more. Then we hit the festival circuit.
(Personal Interview, Achbar, 2007, p.1-2)
From this inconclusive list it is readily apparent that the initial dissemination of the film
that would eventually become the top-grossing documentary in Canada of all time as well
as an internationally celebrated work, was grassroots by nature. More than that, the
screening spaces that Achbar describes are important counterpublics that exist in varying
degrees in Canada from the margins (Salish rave) to the middle (NDP); yet the striking
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