In addition to producing a documentary film, there are other numerous challenges associated with that process. After finishing a film and making it accessible to an audience, figuring out a way to fund the process is in itself an entirely separate challenge that can evade filmmakers.

In order to discuss these challenges and the struggles many documentary filmmakers experience the Documentary Filmmakers Association is planning an event under the heading of the 1001 Documentary Film Festival that aims to tackle some of these struggles. This event will bring together Turkish documentary filmmakers and international distributors between the dates of December 8th and 9th in Istanbul. During this event, topics such as international distribution, sales relationships, methods and infrastructure, and overseas technical expectations and needs will be discussed by representatives from various international distribution companies. This event serves as a workshop in which filmmakers interested in learning more about the international distribution scene should come prepared with their films and their questions.


In the International 1001 Documentary Film Festival, under the heading of Selections: 101, there will be a series of discussions which will bring students and first-time documentary filmmakers together. This is the first time that the Festival will be organizing an opportunity for these two groups to meet and discuss their work.

A component of this program includes two cash prizes that will go to two directors that the jury is in charge of selecting. The first prize is worth 3,000 Turkish Liras and will be awarded to a director to support their next project. The second prize is worth 6,000 Turkish Liras and will be awarded to another director for post-production support.


Cinematographic Reading of the film Pina
Ersan OCAK & Kurtuluş ÖZGEN & Şafak DİKMEN

The creative use of 3D cinema technology is becoming widespread in documentary film. Directors such as Wim Wenders and Werner Herzog are the leading examples of those who have worked with 3-D imaging. In this seminar we will discuss and argue what it means and requires to think about documentary film in 3-D. By analyzing Wim Wender’s documentary, Pina, we can begin to examine what three-dimensionality might hold for documentary film.

We set out on this process of examination with the sub-heading from the film in mind: " dance, dance, otherwise we are lost."


Garip Özdem

In a practical and useful workshop entitled, Documentary and Sound, filmmakers will be able to discuss issues related to sound that they encountered while filming. The workshop will address how to anticipate issues connected to the filming environment, circumstances in which challenges may arise and how to resolve those issues in the most efficient way with the available equipment.


Vojtech Pokorny

In the production of documentary films, undoubtedly, the most important element is that of the camera and the ways in which the filmmaker balances various techniques with aesthetic content. We are at a point in time in which advances in technology allow for an individual to film on their cell phone. This advancement, though, creates a need to continually re-evaluate what type of equipment is necessary and vital in the production of documentary film, without getting lost in those technological advances. Vojtech Pokorny, who has been involved in cinematography in Berlin, will discuss alternative equipment and approaches in documentary film in a workshop setting.


Sula Boziş

During the 1001 Documentary Film Festival, in a special event being organized by Soula Bozis, artistic director, author and researcher, there will be discussion based off of her book titled, From Paris to Pera: Film and Greek Filmmakers. During this event, Taksim, a documentary filmed between the years of 1926-27, estimated at 6:30 minutes, will be shown. The documentary consists of short fragments depicting Gezi Park, Taksim, Bomonti and the daily lives of people in those surroundings. In addition to the short fragments or episodes are written components in both Ottoman Turkish and French. A portion of the event will be devoted to discussing Dimitris Meravidis who in 1903 shot films for Pathe with the intent of documenting Istanbul. Sula Bozis is dedicating this event to her husband, Yorgo Bozis, documentarian and one of the founders of the Young Cinema Movement.


Within the realm of the Arts censorship is a growing concern. Not only is it visible in the media but also increasingly in documentary film. Connected to the 17th International 1001 Documentary Film Festival is a panel entitled, Censorship and Self-Censorship, which will be devoted to discussing the unfortunate reality of censorship and self-censorship in documentaries. A documentary will be chosen as a case-study to facilitate this panel discussion on censorship and self-censorship within the field of documentary film.

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