WORKSHOP “Single Shots”, held by Alain Bergala
JOÃO MÁRIO GRILO presents two new books on film theory and criticism
AT THE CAFÉ CINEMA (with Marie-Pierre Müller and João Botelho)

All this events are of free entrance but require enrolment. Enrolment in the Masterclasses and more information through the e-mail anacristina@doclisboa.org


October 21st | 16.30 | Large auditorium

In the context of doclisboa’s retrospective dedicated to his works, the Israeli director Amos Gitai will give a conference and meet with audiences at the festival, where he will speak about his vast body of documentary works - with a special emphasis on the two trilogies being screened here - and about his work methods. Gitai will also approach the multiple threads that link these documentaries with his fictional films, namely, a focus on Israel’s recent history and themes/figures such as the land, exile and memory.

October 25th | 11.00 | Large auditorium

Part of this year’s programming dedicated to contemporary Japanese documentaries, DocLisboa presents a masterclass with Makoto Satô. This is a rare opportunity to listen to one of Japan’s most illustrious and influential filmmakers (and that’s not all, Satô is also a professor and a historian of documentary cinema) talk about his work, his affiliation with a tradition of Japanese documentaries that deal with social issues (as can be seen in his two films being screened during the festival: “Living on the River Agano” and “Memories of Agano”) and the current state of documentary cinema in his country, which he portrays with a somewhat critical eye.

October 26th | 16.30 | Large auditorium

"Hidden Treasure - the Wonders of Archives" - Tracking down the right piece of archive footage sometimes takes the skills of a detective. You might be looking for it in the wrong places, and you might end up paying for it, when you actually could get it for free. And if you are not careful, you can end up wrestling with law suits. Come and learn with Adrian Wood - where to look, and how to avoid problems.
Moderator: Leena Pasanen

October 22 | 15.00 | Fórum debate
“Transmission is one of cinema’s favourite subjects. For the simple reason that transmission more often than not occurs in the form of writings, inscriptions, circulation and repetition, especially unconsciously, of a meaning. And cinema is one of the best placed arts in this field, due to its temporal development and its visual and audio aspects, immediately making this meaning tangible and thus allowing its circulation and transmission.”
Alain Bergala in L’Hypothèse cinéma. Petir traité de transmission du cinéma à l’école et ailleurs.

Alain BergalaAlain Bergala, the noted French critic, professor and filmmaker, will be present at DocLisboa to develop the workshop “First Shots”, aimed at disseminating cinema education amongst youngsters. He will also present a conference/debate about the importance of transmitting cinema (and knowledge pertaining to cinema) to students and the younger generation and the various options available. Bergala has authored a “small treatise” on cinema education, based on his own experiences, where he puts forth concrete suggestions and possibilities for teaching methods in the field of cinematographic images, stressing the importance of including such programmes in school curricula (during different stages of education) in an innovative manner.
More specifically, Bergala will discuss the inclusion of cinema education as an art, seeking to respond to the notion of what this education could really mean, along with issues such as primary contacts with images and whether it is possible to teach cinema without practical experiences and without understanding and analysing it – questions that everybody who works in the area of cinematic education faces.
Bergala’s work likewise represents an act of resistance on the part of cinema and one of adapting to the technological possibilities afforded by new forms of recording and reproduction.
This debate is an opportunity to discuss ideas, strategies and experiences about cinema education, and will be enriched by the participation of professors from diverse educational institutions in Portugal who are working in this field.

Workshop “Single Shots”, held by Alain Bergala

October 21, 22, 23 – Fórum debate
This workshop is another novel feature of doclisboa 2006 and contributes towards realising another of the festival’s objectives: pedagogical questions related to the education and training of a younger generation via cinema.
Directed by Alain Bergala, director, professor, essayist and specialist in the transmission of knowledge and cinematic practices, this workshop seeks to train the gaze of and encourage cinematographic creation by youngsters. The purpose of the workshop is to make films with a single shot that lasts one minute, just like the films by the Lumière brothers.

Single Shots
The rule of the game of the Lumière shot is simple. Just as in the time of the Lumière operators (colour and especially sound) each participant chooses a place, a moment, a framing, a subject, and films a one-minute shot with a fixed camera.
To film a Lumière shot is to return to the origin and the essence itself of cinema. To film a Lumière shot is to find yourself plunging into the heart of the cinematographic act, in the face of all the essential choices of “filming a shot”. It is a foundational and unforgettable individual experience, where each one has the personal responsibility of all fundamental choices of the cinematographic creation.
There is nothing more beautiful, more pure, more pitiless than a Lumière shot. It is not possible for one to fake, pretend or hide away. Everything about who made it is rendered visible: his relation to the world, his relation to cinema, his intentions, his weaknesses or his strengths (but there can be strengths which are weaknesses and weaknesses which are strengths), his fortune or his misfortune.

In a Lumière shot there is the essential of cinema:
The choice of subject
The relation with the one who is filmed
The question of the attack
The question of the relation with the spectator: how one poses on him an expectation and how he reacts, or not, in sequence
The question of rhythm, of the off status, of the ambiance
The question of natural light and of sound
The question of dexterity and of chance
Cinema is always youthful when it truly starts off from the gesture which founded it, from its origins. When someone picks up a camera and faces reality for a minute, in a fixed frame, in a state of acute awareness in a relation to everything than will happen holding his breath before all which is sacred and irreparable in the feat of a camera capturing the fragility of the moment, with the violent feeling that that moment is unique and will never repeat itself in the course of time, cinema is reborn to him just as on the day when a camera filmed for the first time. When one is in what exists as innate in the cinematographic act, one is always the first film director, from Louis Lumière to a young lady or a young man of today. All it requires is enough innocence and faith in order not to start at once hundred years of public life have forcibly been brought on to the cinema.
It is perhaps the essential of cinema discovered by those who made this film: that filming a shot is already to be in the heart of the cinematographic act, that in the raw act of capturing a minute of the world is contained all the strength of cinema and, above all, this belief in return that the world is always surprising, never such as we aspect it to be or foresee it, and that cinema is always stronger than the one who makes it.
Alain Bergala

O Cinema da Não IlusãoO Homem Imaginado

João Mário Grilo presents two new books on film theory and criticism
October 21th | Fórum debates | 18.00
A film scholar and filmmaker, João Mário Grilo has recently published two anthologies of his film related writings which we are proud to present in doclisboa.
“O Homem Imaginado. Cinema, Acção, Pensamento.” [“Imagined Man. Film, Action, Thinking” is a comprehensive compilation of essays on film theory and criticism published in the last twenty years in various publications.
“O Cinema da Não Ilusão” [Non Ilusion Cinema. Histories for Portuguese Cinema] is also a colection of articles written about contemporary portuguese film, that try to locate the specificity of national film in a paradigm once defined by the “Cinema Novo” in the 60’s and developed through essential films such as Acto de Primavera and Amor de Perdição by Manoel de Oliveira or Trás-os-Montes by António Reis e Margarida Cordeiro.

At the Café CINEMA (with Marie-Pierre Müller and João Botelho)

October 25th | 23.30 | Fórum debates
Who has not, one day or other, had the feeling that films talk to each other, that, through the viewer, they are leading long-running conversations? What film buff has not played with others at bringing together instants from films which, together, tell one of the many histories of cinema? Who among us has not thought, one day, thinking of a film sequence: ‘That said it all…’?
‘That’ shot. ‘Just that tracking sequence’. ‘When the character says… when she does…’ The editing, the sound, the moment, the sequence to replace all others. A glance that is meant for me alone. The figure of the cinema and its incredible adventures: from the giddying zoom to the violence of the close-up. The moment of grace in a documentary, the reward for obstinacy. Style that resists rhetoric. So what do they say, these scraps of film, these connections, these fragments?
Sometimes it just takes a few minutes, or twice that, to say ‘all there is to say’ about the cutting, the montage rhythm and effects, the power of the frame, the power of duration, the real weight of the words and the discrete functioning of the sound, the power or elegance of the solutions provided by the mise en scène for the most complex, the most delicate or the most dangerously simple of situations…
And in the conversations that they hold among themselves, films laugh at the ‘genre’ labels they are given, however correct they may be. In the memory and in the heart of every film buff, a sort of gallery is built up of sequences and shots, an imaginary anti-museum with an unstable collection, where the arrangement changes with each film encountered. It is a source
of the greatest pleasure to talk about and show these personal collections, for they belong to all; it is – always – a chance to reassess a relationship with cinema, to interrogate without respite its most basic elements.
We know that the film buff’s internal museum is shifting, unstable, almost fragile. That she is nevertheless animated by convictions, certainties. Struck by bolts of lightning. Possessed by unforgettable emotions – poignant, definitive, incurable emotions. And that this can be told. The way you can tell a dream. The way you tell a story, to someone you trust.
This is all about something simple: bringing your museum along with you, showing it, having people visit it. Then asking the others (to help you ask yourself better) what is strange about it, what is common about it. Ask plenty of people ‘what’ it is talking about, and how. It is in a bar which has been curiously furnished with television screens that we make our bet that it is possible to ‘talk cinema’ without being either master or pupil. Through hesitation, risk, shyness. Through passion, through improvisation. Through the discovery that you can do it because there are more of you, seeking, catching glimpses. Through the wealth of intuition because you are watching together. Through the pleasure of a word that is more sure of itself because it is responding to another. Armed with out cassettes and DVDs, and certain that we shall not be the only ones to bring some along to ‘the café’, we propose a journey through two histories of the cinema. A story of pursuit, and a story of the night. Pursuit, figure and posture: the filmmaker is a tracker, she talks sometimes of being in hiding and on the lookout, even of setting traps. This fits no shortage of sequences in which the viewer watches the time of waiting and the drama of capture, death approaching before his eyes. At this moment, more than ever, it is a question of place. When the night falls, the film or magnetic tape can only record the contrary, the flicker of light that remains. But in the darkened cinema the dramas of noir unfold. At this point in our lives and in the real world, when we are at once condemned to powerlessness and freed of control, the cinema takes on a terrible and paradoxical power.
Marie-Pierre Duhamel Müller

October 27th | 10.00 – 13.30 | FÓRUM DEBATES
Maximum 15 Participants (enrolment required)
Target: Film professionals and students

October 28th – 10:00 – Small auditorium
15 projects, previously selected by EDN for their potential appeal to the international market and developed during 3-day workshop, are presented to a panel of decision-makers from documentary funding institutions and leading European channels in international co-productions. It's a show of what we can expect from documentarists in Portugal and other European countries. 15 minutes are given to each project - half of the time to the producers/directors, the other half to reactions from the Experts. The main goal of a Pitching Session is to secure financing for documentary projects. Thus, to be in the audience is a unique chance to observe what works and what does not work in today’s international non-fiction market!
Moderators: Leena Pasanen and Cecilia Lindin.


Organization: Apordoc
Rua dos Bacalhoeiros, 125, 4º. 1100-068 Lisboa. Portugal . Phone & Fax: + 351 21 887 16 39
Email: doclisboa@doclisboa.org