The Spaces Between Grassroots Documentary ... - Ezra Winton

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ABSTRACT The Spaces Between Grassroots Documentary Distribution and Exhibition as Counterpublics Ezra Winton Documentary cinema has emerged as an important focus for research into popular culture, marginalized narratives, and democratic media. However, academic work on the genre has been narrowly focused on audience consumption habits, aesthetic or textual analyses of individual works, and cultural analyses of the intersection of documentary and mainstream commercial cinema sites and practices. This thesis is an attempt to bridge a research gap by interrogating extra-textual elements around the grassroots distribution and exhibition of documentary cinema in Canada. By linking the concepts of cultural hegemony, counterpublics and agonostic pluralism with community-oriented practices around documentary distribution and exhibition, this thesis urges a closer look at the spaces between box office numbers, high profile documentaries, and megaplexes. First hand interviews with filmmakers, promoters, exhibitors and distributors – from director Mark Achbar (The Corporation) to the manager of Montreal’s AMC Forum – tease out the relationship between documentary cinema and counterpublics in Canada. iii
iv ACKNOWLEDGEMENTS This thesis would not have materialized were it not for my incredibly supportive and understanding family, much gratitude to them, especially to my mother. Thank-you to Svetla Turnin, my partner in the criminal underground world of academia and activism; for consistently nudging me forward on this absurd and wonderful journey, and for buckets and buckets of love (and constructive criticism). Thank-you to my dear friend and colleague Michael Lithgow, whose talented and inspiring footsteps have always been just far enough ahead of my clumsy stumbles so as to keep me pointed in the right direction, with whiskey stops along the way. And finally, thank-you to my supervisor, Charles Acland for surgical-like precision in extracting the kernels of goodness in the muck of so much suspect writing. And to the rest of my committee, Liz Miller and Leslie Shade, fellow travellers on the praxis road to revolution.
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Page 5 and 6: CHAPTER I HOT DOCUMENTARIES IN COOL
Page 7 and 8: p.167) Yet what brings Wintonick an
Page 9 and 10: Complimenting the celebration of ex
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Page 13 and 14: ealm of the marginalized, and furth
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Page 21 and 22: examines and exposes these phenomen
Page 23 and 24: some years working as an activist a
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Page 27 and 28: the discursive and physical multipl
Page 29 and 30: attention in some areas, such as te
Page 31 and 32: writes: “The strongest barrier to
Page 33 and 34: its heyday 4 . Stuart Hall, Richard
Page 35 and 36: large multinational corporations wh
Page 37 and 38: it is a complex process of negotiat
Page 39 and 40: globally harmonized by a populist c
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Page 43 and 44: She is concerned with the counter-h
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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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spaces and practices that this thes
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formations (in Dorland’s case) or
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irrelevancy. The social movements s
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in communities for citizen’s acti
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for CFC works was remarkably relaxe
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of documentary - on the oppression
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scholar concerned with progressive
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film industry, while texts that beg
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Montreal-based non-profit übercult
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cinemas, where managers and program
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journalist still stationed in Haiti
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You are on Indian Land and Mike Mit
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Achbar settled down on to the grass
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the report continues, the authors a
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of grassroots I think of an organiz
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spaces through grassroots practices
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Haynes quickly realized there was a
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documentaries in Canada. Haynes add
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people experience the screenings, a
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like Charlottetown, PEI. The initia
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Canadian, and is doing it by way of
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community members who make up the K
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That said, AMC is paying more atten
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example, Achbar relates to me that
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consumers. What I have argued in th
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dominant veneers in culture, so tha
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that build counterpublics with the
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Nos voisons les hommes (USA - Over
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APPENDIX B Sample Interview Questio
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I HAVE CAREFULLY STUDIED THE ABOVE
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Beetham, David. Democracy: A Beginn
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Gramsci, Antonio. Selections from C
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Magder, Ted. Canada’s Hollywood:
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Rennie, Ellie. Community Media: A G
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Yudice, George. “The Privatizatio
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