The Spaces Between Grassroots Documentary ... - Ezra Winton

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public: they work the raw material of everyday life, which, in contrast to the traditional forms of publicity, derive their penetrative force directly from capitalist production.” (Ibid, p.63) The dominant neoliberal discourse seeks to erase the boundaries between democracy and capitalism, collapsing them together as an intertwined inevitability of the so-called logic of humanity. (Giroux, 2004, p.25) Giroux writes: “Within this dystopian universe, the public realm is increasingly reduced to an instrumental space in which individuality reduces self-development to the relentless pursuit of personal interests…” (Ibid) Countering this picture are the examples mentioned in this thesis, and countless other spaces across Canada where groups and individuals are rejecting the dystopian vision of individualism and “consumer-choice democracy” and instead building heterogeneous contact zones of media, culture and community. The nexus for these contact zones is cinema, and as a medium, it provides opportunities to transform the experience of spectatorship into participation, with the proper context of course. Uricchio writes: “As an expressive medium, film has the capacity for critical contestation and cultural unification, for creative tension and variation as a source of cultural renewal. As a mass medium, it has the potential to share this process, reaching across islands of parochial interest by constructing new publics.” (Uricchio, 1996) In this way, grassroots d/e spaces and practices use cinema to express collective identity through political engagement and civic empowerment. Mouffe writes that power is at the centre of challenges to hegemony: “But if we accept that relations of power are constitutive of the social, then the main question for democratic politics is not how to eliminate power but how to constitute forms of power more compatible with democratic values.” (Mouffe, 2000, p.14) This is the essence of grassroots d/e practices 130
that build counterpublics with the tools of cinema. The confrontational aspect of the Haiti screening described earlier led not to a riot or violence, but to an emotional, respectful and constructive dialogue and debate about the issues effecting the community. By shaping that space into a democratic arena for that discussion, members of that community are constituting power away from mainstream articulations and framing of the issues into the realm of a counterpublic with democratic tendencies. As these spaces between continue to rupture the global fabric of corporate media cartels and articulate their own vision and reality of community, fragments of a counterpublic mediascape emerge to contribute to a democracy on the ground. These cultural spaces and practices around grassroots distribution and exhibition of documentary cinema are important to understanding hegemony and resistances to it. It is my hope therefore, that this thesis is but one of many more investigations into these spheres, and that the research will continue. 131
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The Spaces Between Grassroots Docum
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iv ACKNOWLEDGEMENTS This thesis wou
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CHAPTER I HOT DOCUMENTARIES IN COOL
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p.167) Yet what brings Wintonick an
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Complimenting the celebration of ex
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somewhere. Documentaries make up a
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ealm of the marginalized, and furth
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short, there is a clear and urgent
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discussion and treats them as unnat
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content” (Ibid, p.3) reminiscent
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examines and exposes these phenomen
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some years working as an activist a
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grassroots distribution and exhibit
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the discursive and physical multipl
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attention in some areas, such as te
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writes: “The strongest barrier to
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its heyday 4 . Stuart Hall, Richard
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large multinational corporations wh
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it is a complex process of negotiat
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globally harmonized by a populist c
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(counterpublics) - such is the way
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She is concerned with the counter-h
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operating with an assumption that t
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film through the public sphere.”
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commercial exhibition sites, and fu
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adicalizing opposition or counterpo
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screenings can provide opportunity
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authors have chosen to survey the g
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demonstrative examples of the acade
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conflict(s) as a core of contestati
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consumer-over-citizen modeled (Mouf
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CHAPTER III - HISTORICAL CONTEXT -
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vis the ‘work’ of politicians,
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These authors are introducing the t
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articulations that illustrate the i
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indexes is a revealing exercise, in
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the lens of inequity, where cultura
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of the 20 th Century, was the agent
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As mentioned, d/e has been at the h
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the urban counterpart to the film c
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artist-driven and dedicates itself
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Page 103 and 104: journalist still stationed in Haiti
Page 105 and 106: You are on Indian Land and Mike Mit
Page 107 and 108: Achbar settled down on to the grass
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Page 111 and 112: of grassroots I think of an organiz
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Page 119 and 120: people experience the screenings, a
Page 121 and 122: like Charlottetown, PEI. The initia
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Page 125 and 126: community members who make up the K
Page 127 and 128: That said, AMC is paying more atten
Page 129 and 130: example, Achbar relates to me that
Page 131 and 132: consumers. What I have argued in th
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Page 137 and 138: Nos voisons les hommes (USA - Over
Page 139 and 140: APPENDIX B Sample Interview Questio
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Page 145 and 146: Gramsci, Antonio. Selections from C
Page 147 and 148: Magder, Ted. Canada’s Hollywood:
Page 149 and 150: Rennie, Ellie. Community Media: A G
Page 151 and 152: Yudice, George. “The Privatizatio
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