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nafa:// Contents

Editorial 2
Special Screenings Programme .................................. 3

Visual Anthropology of Food Symposium Programme . 5
General Screening Programme ................ 11

vol. 24.3 (August 2017)

Newsletter of the Nordic Anthropological Film Association
Special Edition for 37 th NAFA International Ethnographic Film Festival

Web version:

ISSN: 0805 - 1046

Please send news, articles and announcements to:

Berit Madsen, Anne Mette Jorgensen, Kayla Reopelle, and Christian Suhr
Department of Anthropology
8270 Hoejbjerg
Fax: +45 89424655
NAFA Network vol. 24.3 (August 2017) 2


By Anne Mette Jrgensen and Kayla Reopelle

Dear readers,

After a nice - and rainy - northern summer we are back again with a special volume of the NAFA Network, solely dedicated to the upcoming
37th NAFA International Ethnographic Film Festival and the symposium The Visual Anthropology of Food,
that will take place only a couple of weeks from now, 21-26 August, with the beautiful green forests and the lively city of Aarhus as the background.
For more information, visit We very much look forward to meeting many of you there.

The next volume will be released in October, and the deadline is 29 September.
nafa::special screenings
Programme for the Three Special (Invited) Film Screenings
Forming Part of NAFA2017, 22- 23 August 2017
Main Auditorium, Moesgaard Museum, Aarhus & Remisen at Godsbanen (City Centre)

Tuesday, 22 August 2017, at Main Auditorium, Country/location of film: Cameroon, Italy, France local, regional and national authorities and politicians.
Moesgaard Museum: The ambivalent and complicated character of Al Hajji Progressively, the viewer discovers that the rich man
13.15-15.30: Le Chateau. A portrait of the Muslim Mohamadou Ousmanou Abbo as well as his love-hate from the poor country can offer new insights about you
Cameroonian Industrialist Al Hajji Mohamadou relationship with his European partners, help us to and me, about poor and rich countries alike.
Ousmanou Abbo grasp aspects of the equally ambivalent and complicated
Chaired by Peter I. Crawford (Aarhus University) relationship between the rich and the poor and Lisbet Holtedahl is Professor
between the Global North and the Global South. Emerita at UiT - The Arctic
Title: Le Chateau. A portrait of the Muslim Through a portrait of this man, Al Hajji Abbo, the University of Norway. She has
Cameroonian Industrialist Al Hajji Mohamadou film tries to look at the world from the perspective of used pictures and film in all her
Ousmanou Abbo someone who is rich and powerful, but who also, as the anthropological research in
Year: 2017, World Premiere film shows, tends to be vulnerable and misunderstood. Eastern Niger, Northern Norway
Length: 120 minutes Filmed over a period of more than ten years, the red and Northern Cameroon. She
Director/filmmaker: Lisbet Holtedahl thread of the story is Al Hajji Abbo's construction of a has published books and
Editor: Gary Kildea spectacular chteau on the outskirts of his native town produced 9 ethnographic films
Production: Madam Lisbet & Visual Cultural Studies of Ngaoundr in Northern Cameroon. The camera about her research on gender, social change, religion,
(UiT The Arctic University of Norway) follows Al Hajji on various arenas in France, Italy and urbanization, politics and power. She is the founding
Country of production: Norway Cameroon. We learn about his relationships and mother of the collaborative inter-university program
negotiations with Ngaoundr-Anthropos, Cameroon 1992-2006, and
the local the Master program Visual Cultural Studies established
population, at UiT - The Arctic University of Norway in 1997.
European artisans,
who work on the
construction site, Tuesday, 22 August 2017, at Remisen (Godsbanen in
his business the city centre), in co-operation with
partners in the FoodFilmFestival:
country and 21.15-23.00: Sealers One Last Hunt
abroad, as well as Chaired by Peter I. Crawford (Aarhus University)
NAFA Network vol. 24.3 (August 2017): Special Screenings Programme 4

Gry Elisabeth Mortensen grew

up on a diet consisting of whale
meat and codfish, on a barren
island in Arctic Norway. While
Trude Berge Ottersen is a
domestic southerner from a
farming family. Together they are
Koko Film, a production
company for documentaries, established in 2013 in
Troms. On set they are teamed up as co-directors, now returned to the subject to
Title: Sealers One Last Hunt with Gry doing the sound focus in particular on the
Year: 2017 work and Trude operating mysteries of the balls: Each ball
Length: 98 minutes the camera. They are both is an individual with its own life.
Director/filmmaker: Gry Elisabeth Mortensen & Trude educated within And every player has his own
Berge Ottersen anthropological filmmaking, special relationship with the ball.
Production: Koko Film, Troms and make films with a In voice-over, Leth tells us about
Country of production: Norway relevant and captivating the production and the special
Country/location of film: Norway story. Sealers One Last Hunt selection procedures of the balls.
is their first feature-length film. Before each match, supervisors
Ocean, ice and bitter cold in an untouched corner of test the balls first by bouncing them, to test their
the world. A crew who can only trust each other in the Wednesday, 23 August 2017, at Main Auditorium, elasticity and listen to their sound, then by playing
kingdom of polar bears and sudden storms. Until now Moesgaard Museum: against the wall. Having tested dozens of balls, the
this has been an annual ritual for the obstinate, ageing 19.30-21.15: Pelota II finalists finally play twice with two balls. Leth and
skipper, Bjrne, and his first mate, Espen. In the Chaired by Peter I. Crawford (Aarhus University) Gonzlez Abrisketa's focus is on the ball at all times
beginning of the 20th century, more than 200 makers, testers, selectors, players and veterans all talk
Norwegian sealing vessels were active, now there is only Title: Pelota II about the ball, not about the rules, winning or losing.
one ship left. But the skipper and his first mate refuse to Year: 2015 Leth also resists the temptation to use footage from his
give in. With a motley crew of greenhorns and old- Length: 71 minutes 1983 film Pelota. We stay in the present; the camera
timers, they set out on the dangerous journey into the Director/filmmaker: Jrgen Leth & Olatz Gonzlez shows us that every Basque village has its own
polar ice. They are the last seal hunters of Norway. Abrisketa authentic frontn (wall), and how the young people are
Production: Basque Films, Sunset Productions brought up with this exceptional sport.
Country of production: Basque Country, Spain
Country/location of film: Basque Country

Danish filmmaker Jrgen Leth and Basque

anthropologist Olatz Gonzlez Abrisketa introduce us
to the world of the ballgame Basque pelota, a centuries-
old sport that is similar to squash. Leth made another
film about pelota more than thirty years ago, but he has
nafa::anthropology of food symposium
Programme for the Visual Anthropology of Food Symposium
Forming Part of NAFA2017, 22-24 August 2017
Main Auditorium, Moesgaard Museum, Aarhus
Tuesday, 22 August 2017: industrially produced Iberian pork products. I argue
9.30-10.00: that the industry re-imagine and stereotype dehesa as the
Peter I. Crawford (NAFA2017 organiser, Department of natural habitat primarily of the Iberian pig, and
Anthropology, Aarhus University) mythologize and brand the Iberian pork products and
Welcome to overall event and short presentation production as traditional, authentic and natural.

10.00-11.00 Keynote Address A Lorenzo Cas Bottos (Department of Social

Chaired by Susanne Hjlund (Symposium co-organiser, Anthropology, NTNU, Norway)
Department of Anthropology, Aarhus University)
Lorenzo Cas Bottos is an
This is a double keynote about the same research Branding pork: Re-imagining the dehesa forest Associate Professor of the
project on the cultural significance of the Iberian so- pastures Department of Social
called blackfoot pig (pata negra): Jan Ketil Simonsen Anthropology, Norwegian
(Department of Social Anthropology, NTNU, Norway) The forest was the original habitat and pastures of University of Science and
livestock. In Europe, most forest pastures were Technology. He previously held
Jan Ketil Simonsen is an abandoned in the 20th century during the the first Chair in Social and
Associate Professor and past industrialization of food production. Today, forest Cultural Anthropology at Tallinn
Head (2004-2008) of the pastures are exploited for small-scale, high quality, University. He has done research
Department of Social organic food production, and for rural tourism. In the on identity, nation-making and the relationship
Anthropology, Norwegian past thirty years, oak grove pastures, called dehesa, in the between religion and politics in the Irish border area
University of Science and mountain slopes and hilly areas of the southwestern part and among Old Colony Mennonites in Argentina and
Technology. He is the co-editor of the Iberian Peninsula, have been revitalized in Bolivia as well as on immigration integration and food
of the Norwegian Journal of connection with industrialization and global marketing among descendants of Syrian and Lebanese migrants in
Anthropology. His research interests include migration, of products from the Iberian pig. The dehesa is a co- Argentina. His publications include Old Colony
kinship, ritual studies, childhood studies, and visual habitat of cattle, sheep and pigs, and just a tiny fraction Mennonites in Argentina and Bolivia: Nation Making,
anthropology. He has co-edited two books in the of the total stock of Iberian pigs feed in the forest. Religious Conflict and Imagination of the Future (Brill,
NAFA series published by Intervention Press: Beyond These pigs are selected for the production of the highest 2008); Christenvolk: Historia y Etnografa de una
the visual: Sound and image in ethnographic and quality of ham. Before being slaughtered, the pigs roam Colonia Menonita (Antropofagia, 2005); and (as co-
documentary film (2010, with Gunnar Iversen), and for a couple of months in the oak groves to fatten on editor) Political Transformation and National Identity
Ethnographic film, aesthetics, and narrative traditions acorn. The food industry uses videos and still images of Change (Routledge, 2008).
(1992, with Peter I. Crawford). the pigs feeding on acorn in the marketing of all
NAFA Network vol. 24.3 (August 2017): Anthropology of Food Symposium Programme 6

11.30-12.15 Symposium film screenings and Nazareno has been copied several times to be taken to the
presentation I U.S.A., where the same feast has been initiated recently.
Chaired by Peter I. Crawford Being held in a completely different setting, the
Beate Engelbrecht (Max Planck Institute for the Study of organization of the feast demands a lot of creativity among
Religious and Ethnic Diversity) the migrants. Here the last supper is also central. The
special dishes are cooked jointly, special bread is baked by
Beate Engelbrecht studied migrants at home, and a special sweet dish is brought in
anthropology, sociology and from the home village by plane. Not only that the event
economics at Basel University. 1985- brings together the migrants, the audio-visual
2015 she worked as an documentation by videographers and visitors, and online
anthropologist, ethnographic communication, is central for the members of the
The Classificatory World of the Iberian Pig filmmaker and producer at IWF transnational community. Having witnessed and filmed
Anthropology has a debt to pigs, beyond all the ham (Institut fr den Wissenschaftlichen the feast in the home village as well as in Florida various
and ribs we consume. From Mary Douglas exemplar Film). She has undertaken multiple times I could see how food remains a central part of the
into the cultural logic of classifications and the trips to film in Mexico, Burkina feast and serves as important means of socialising.
distinction between purity and impurity, to Marvin Faso, India, and Indonesia. 1993 she co-founded the
Harris emphasis on the material conditions of existence Gttingen International Ethnographic Film Festival Mnica Toledo Fraginals (Filmmaker and Visual Artist)
of pigs and humans, to Roy Rappaports linkage (GIEFF). She is Senior Research Partner at the Max
between domestic life, rituals and our ancestors. Here I Planck Institute for the Study of Religious and Ethnic Mnica Toledo Fraginals was
will focus on the Iberian pig in the Spanish dehesa as a Diversity, Coordinator of the Visual Anthropology born in Oaxaca, Mxico and
means to explore classificatory human activity. In a Network of the EASA and Director of the online journal received her BFA in Design
context of global market oriented commodity AnthroVision. and MA in Media Studies at
production, the pig today undergoes several processes of The New School in New York
classification, certification and standardization; Celebrating the Last Supper in a Transnational Context City. Influenced by her
governmental as well as from the private sector. It is heritage, her background, and
through these processes that these animals are rendered In a Mexican village a feast for Jess Nazareno is held a love for discovering and
simultaneously commodities, Iberian, traditional every year commemorating the last supper. Preparations telling stories, she decided to
and local. Here I will also pay particular attention to last several weeks as the central event consists in serving become a documentary filmmaker. Now she lives in Berlin
the role of visuality, and the usage of the visual sense the whole community special dishes. The figure of Jess where she works as a filmmaker whose work is informed
throughout these processes. The empirical material by her interests in anthropology and ethnology. In her
comes from our on-going cooperative fieldwork in work she combines a talent for cinema and graphic art
Extremadura, Spain, and locally produced printed with a scholarly approach to investigative research.
material produced by the producers association: a
producers handbook, a guide to the genealogical For the Love of Mole (Por Amor al Mole), 18 mins.
registry, and a trade journal.
For the Love of Mole is a short film that attempts to
document the process of making mole (a time-honoured
11.00-11.30 COFFEE BREAK Mexican dish that consists of a thickened sauce made from
a variety of ingredients including chillies, tomatoes, spices,
grains and seeds), and to invite audiences into Doa Yola's
NAFA Network vol. 24.3 (August 2017): Anthropology of Food Symposium Programme 7

kitchen, to experience all the hard work, the love and the
Spectacular Steaks and Male Gazes: How Masculinity is
Produced and Negotiated through Meat Consumption
in the Media and in Meat Restaurants

This talks deals with the ways meat works to produce and
negotiate masculinity in contemporary food culture. While
it has been argued that meat production and the slaughter
of animals has been hidden away from the public space in
many years, lately we have witnessed new carnivorism
where meat and slaughter are glorified and put back in
meanings that accompany this dish. In doing so, the film the public sphere through controversial imagery. This
uses food as a vehicle for examining large and varied movement is closely connected to traditional ideas of
problems of theory and research methods within the field masculinity and virility. More specifically the paper An ethnological net of wine in Rioja Alavesa.
of visual anthropology. investigates the phenomenon through the documentary Materiality, agency and heritage
Jamies Italian Escape and the visual narratives in
Copenhagen meat restaurants. Beyond being a simple beverage, wine is intention, history,
Wednesday, 23 August 2017: society, culture, and gender relations. It has a body, as it
9.30-10.30: Keynote Address B embodies its materiality. By giving voice to the wine, it has
Chaired by Susanne Hjlund 10.30-11.00 COFFEE BREAK gained agency. It is alive, and people in Rioja Alavesa
Jonatan Leer (Aarhus University) know it. It is the central axis of the social network of this
Spanish region, where along Sierra de Cantabria,
Jonatan Leer (PhD, postdoc, Aarhus University) is a part 11.00-12.15 Symposium presentations II vineyards, tractors and inhabitants among others, creates
of the research project on taste He Chaired by Peter I. Crawford the culture of wine. During eighteen months of fieldwork
has published widely on food culture, notably on food and Edurne Urrestarazu (Aarhus University) we will collect and analyse different discourses immersed
masculinity: Whats Cooking, Man? Masculinity in in the presented network and create space to talk about the
European Cooking shows (Feminist Review) and Edurne Urrestarazu movements arising from these relations, as a new
Carnivorous Heteropopias: Gender, Meat and Nostalgia on (1993) is an designation of origin, representative for the wines of Rioja
the Copenhagen Meat Scene (NORMA: International anthropologist who Alavesa, is being considered. A possible audio-visual
Journal of Masculinity Studies) with Linda Lapina. did her BA in Social project in the future might be the result of this written
Jonatan is also the editor of the Anthropology at the research. For the moment, words are in process.
book Food and Media: Practices, University of the
Distinctions and Heterotopias Basque Country, and is now completing her MA in Visual Orsolya and Ralph Veraart (CinTrans)
(Routledge, 2016) with Anthropology at the Department of Anthropology at
Karen Klitgaard Povlsen. He has Aarhus University. She is conducting a research project on Orsolya Veraart is Hungarian from
also contributed to the anthologies wines of an area of the Basque Country (Spain) together Transylvania, Romania. She has a
Food, Masculinities and Home with fellow anthropologist, Josu Ozaita. They have masters degree in ethnography from
(Bloomsbury, 2017) and The received a grant from the Barandiaran Foundation for the Babe-Bolyai University in Cluj-
Bloomsbury Handbook on Food and project. Napoca, and a masters degree in Visual
Popular Culture (2017). Cultural Studies from UiT - The Arctic
NAFA Network vol. 24.3 (August 2017): Anthropology of Food Symposium Programme 8

University of Norway. She has served as member of the continue with this project in coming years, and to build bread in this struggle. On the other hand the presentation
NAFA film selection committee for several years. Orsolya up a collection of short films around these food events in offers an outline of the way the homemade bread became a
provides introductory lectures in visual anthropology at Transylvania.
workshops and summer schools. She is a co-founder of
CinTrans ( Thtm Szab (Babe-Bolyai University)

Ralph Veraart is from The Thtm Szab works as an assistant professor at the
Netherlands. He has a masters degree Department of
in International Development Studies Hungarian
from Wageningen University, The Ethnography
Netherlands, and a masters degree in and
Visual Cultural Studies from UiT - Anthropology,
The Arctic University of Norway. He BabeBolyai
has over ten years of experience in University,
project development and implementation. He is the main Cluj-Napoca.
developer of the latest NAFA website ( and He holds a commodity and at the same time part of cultural heritage.
serves as assistant general secretary of NAFA. He is co- PhD in Besides interviews and participant observation the research
founder of CinTrans ( ethnology and cultural anthropology from the University uses the camera as a tool of inquiry in order to examine the
of Debrecen. His main research interests are economic role of the homemade, traditional bread and its baking as a
anthropology, peasant studies and rural studies. He symbol of the peasant autonomy and morality in local and
published three books in Hungarian and several articles in global contexts.
Hungarian and English.

Morality of post-peasant households and self- Thursday, 24 August 2017:

sufficiency in global contexts: from food to commodity 9.30-10.30: Keynote Address C
and cultural heritage Chaired by Peter I. Crawford
Karen Klitgaard Povlsen (Aarhus University and FOCUS)
Peasant households have always struggled to keep a
distance from the market and followed the patterns of a Karen Klitgaard Povlsen (Associate
Polenta Transylvanica household mode of production. Means to reach this so- professor, PhD Media Studies, School
called autonomy had a strong focus on food self- of Communication and Culture,
Our ongoing project in Romania is focusing on food and sufficiency. Post-peasant households in Transylvania, or at Aarhus University). Has published five
uses food events as a magnifying glass on social issues in least part of them, can also be characterized through this books and ten anthologies on gender,
Transylvanian rural life. When we visit Romania we film kind of struggle for autonomy that has at its base a sort of food and fashion, body ideals,
daily life situations, often in our own family setting. The peasant morality. The presentation investigates the role of travelogues, popular fictions and films,
films help us understand and reflect upon for example traditions and experiences but also the role of present-day, media use and trust. Currently
expressions of gender inequalities and power relations global discourses on food in the formation of these working on a project on how children
within the family. The film Polenta Transylvanica has this patterns. A special focus will be given to bread: records of are cooked for in schools by professionals; and on how
as an under-layer. The project is being developed as an peasant history and ethnographic descriptions reveal the children perform cooking in a school setting with Jonatan
initiative of our organisation CinTrans. We hope to importance of wheat (called often life in Hungarian) and Leer and others.
NAFA Network vol. 24.3 (August 2017): Anthropology of Food Symposium Programme 9

produced as mainstream fiction films but with strong

realistic locations and plots. In contrast to e.g. Fellinis and
Greenaways dystopian films on cooking and eating, these
films are negotiating sense and sensibility in natural
settings offered by cooking, and meals as a way to perform
existential and deeply political discussions in everyday

10.30-11.00 COFFEE BREAK

Focusing on these works I will reflect on the importance of

11.00-12.00 Symposium presentations III and film audiovisual media in the deepening of human knowledge
screening in food studies and in anthropology in general. Excerpts
Chaired by Susanne Hjlund from the films will be shown as part of the presentation.
Cooking fine food as a negotiation of gender, ambition Ins Mestre (CRIA Nova University of Lisbon and
and love: cross-cultural and cross-media traveling of University Institute of Lisbon) Blake Paul Kendall (Free University Berlin)
food and femininity.
Ins Mestre studied Anthropology Blake Paul Kendall is Australian
Food and cooking have been recurrent themes in many and Documentary Film, and is according to passport, Berlin-based (by
films in the years after 2000. Not least in films made by currently finishing her PhD in choice). Working across multiple
women directors with strong female protagonists. The Anthropology about confectionery in mediums, the past was dedicated to
presentation discusses how cooking, femininity and food Portugal, working in the areas of collaborating with Indigenous
are constructed as a way of doing contemporary cultural food, heritage, memory, body, senses, communities in language preservation
analysis in three important films: visual anthropology and cinema. The projects, including an ongoing
Bella Martha (2001), made by Sandra Nettelbeck on a research includes the production of visual and audiovisual commitment with Penan communities. More interested in
female Francophile and perfectionist Michelin-chef in media. Ins works regularly in documentary films and dialogue than in answers, aspiring to the Open Ended. A
Hamburg, who is contested by an Italian chef and an other visual projects, in the areas of direction, research, student to life, and more formally in Visual & Media
orphan niece. production, direct sound, editing, distribution and Anthropology. In 2011 he learnt to listen
Julie and Julia (2007) by Nora Ephron on Julia Childs programming.
cookbook, Mastering the Art of French Cooking, as it is Daha // Blood
cooked and blogged about by young Julie in Queens, NY. Gluttony islands. Reflections on an audiovisual
The Lunch Box (2013) by Ritesh Batra, on clever cooking project about confectionery in Portugal This practice-led (re)search, exploring Karl Marxs (1973)
with traditional spices and ingredients as an untraditional alienation of nature and Nicholas Mirzoeffs (2014)
way out of an unhappy marriage and an overcrowded For the last years I have been doing a set of films in the notions of visualisation of the anthropocene, examines
Indian city. frame of anthropological research in different contexts of the field site of Penan villages in the post-logged forests in
All three films are preoccupied with the constructions of sweets production, distribution and consumption in Sarawak (Malaysia). The onset of deforestation and village
femininity, with good eating and sex, with ambitions, and Portugal. The free adoption of different cinematic forms settlement marks the transition from a 'hunter-gatherer' to
with food and cooking as an obsession that offers room for proved essential to explore important dimensions of a 'horticultural' society. The linear nature of moving-
cultural negotiations and life changes. All three films are human experience related to food, namely sensory. image assemblage, and the narrative structures of source
NAFA Network vol. 24.3 (August 2017): Anthropology of Food Symposium Programme 10

Aarhus University but will shortly after this event be

professor in visual anthropology at UiT - The Arctic
University of Norway.

(hunting / gathering / farming / buying) to consumption of

food, are explored with the examination of Laura U.
Newmark's (2000) haptic and multisensory distinctions.
The sensual potentials of the visual and audible are Pileni paualala. Dried giant clam in the Reef Islands
analyzed under the prisms of evocation, experience and
memory. Methodological experimentation tracks food This presentation consists of a 17-minute film exploring
within the context of (re)search collaborators lives. A the harvesting and use of giant clams on the coral atoll of
response Pileni, forming one of the five so-called Polynesian outliers
constituting the area of Vaiakau of the Reef Islands in
Peter I. Crawford (Camera as Cultural Critique, Temotu Province in the far eastern part of the Solomon
Anthropology, Aarhus University) Islands. In the early days of the Reef Islands Ethnographic
Film Project, in the 1990s, harvesting and local
Peter I. Crawford has been an consumption of giant clams was still relatively common,
active member the Nordic and we had filmed how they were produced and mainly
Anthropological Film served as part of ritual festivities on the main Reef Islands.
Association (NAFA) since the A decade later it was a practice that seemed to be dying
late 1970s, and chaired its out, due to overexploitation, and it was a long time since
annual film selection committee we had had a chance to film it. During fieldwork in 2015,
for many years. He has written however, we discovered not only that there was an
extensively on visual abundance of giant clams on the fringe of the Reef Islands,
anthropology and ethnographic filmmaking and has wide but that an ingenious young man, John Knoxson, son of
experience in teaching the subject both theoretically and the Pileni island chief, had found a way of drying the meat
practically. He has been in charge of the long-term Reef of the clams so that it could be exported to the market in
Islands Ethnographic Film Project (Solomon Islands) since the national capital of Honiara, bringing in cash, without
1994. Otherwise Peter has mainly worked as a which it was becoming increasingly difficult to survive.
publisher/editor for Intervention Press
( and as a socio-economic consultant
on development issues. He has until recently been part of
the Camera as Cultural Critique Research Programme at
nafa::general programme
Programme for the General Film Screenings
Forming Part of NAFA2017, 22-25 August 2017
Main Auditorium, Moesgaard Museum, Aarhus; Lecture Hall, Dept. of Anthropology, Moesgaard &
Remisen at Godsbanen (City Centre)
Mr. Okamoto-san is driven in his quest for the perfect his undergraduate program in Film Studies at UC
Tuesday, 22 August 2017, at Main Auditorium, cup of tea. He is trying to cope with his wifes cancer Berkeley in the US, before continuing on to the
Moesgaard Museum: diagnosis and joins a support group for empathy and masters program of Visual Cultural Studies at the
16.00-17.15: To the last drop companionship. By way of repaying the kindness, he University of Troms in Norway. Along this pursuit of
Chaired by Orsolya Veraart (CinTrans) insists on serving tea and coffee at all of their regular higher education, Wake has gone through cancer
meetings. His efforts bemuse as much as comfort these treatment twice. He chooses to use his own cancer
fellow travellers on their painful journeys. But by being experience as an instrument for conducting visual
useful he knows that he can find a certain relief, may ethnography in supportive cancer communities in
even find things to smile about along the way. To the Japan. His first feature film Ippo Ippo (2010) was based
Last Drop is the second feature documentary from on his masters project. To the last drop (2016) is his
Shotaro Wake, who decided to use a smart-phone rig latest work.
for this project to minimise the disruption of the
process. From his own personal experience of cancer,
the filmmaker is a friend of Okamoto-sans through
difficult times, attentive to his story and all his small Tuesday, 22 August 2017, at Remisen (Godsbanen in
Title: To the Last Drop gestures of defiance when facing the inevitable. the city centre), in co-operation with
Year: 2016 FoodFilmFestival:
Length: 60 minutes Shotaro Wake (Japan) has a 20.00-20.45: The Sound of Winter
Director/filmmaker: Shotaro Wake PhD in Social Anthropology Chaired by Balz Andrea Alter (University of
Production: GCVA, The University of Manchester with Visual Media from the Basel/Aarhus University)
Country of production: UK University of Manchester,
Country/location of film: Japan UK. He has been making
films in various styles since
NAFA Network vol. 24.3 (August 2017): G eneral Programme 12

International Documentary Film Festival and the

Title: I Am the People Belfort International Film Festival EntreVues.
Year: 2014
Length: 111 minutes
Director/filmmaker: Anna Roussillon Wednesday, 23 August 2017, at Main Auditorium,
Production: Hautlesmains Productions Moesgaard Museum:
Distributor: Documentary Educational Resources 15.45-17.30: Train to Adulthood
Country of production: France Chaired by Orsolya Veraart (CinTrans)
Country/location of film: Egypt

Title: The Sound of Winter

Year: 2016
Length: 27 minutes
Director/filmmaker: Tizian Bchi
Production: Mdiadiffusion
Country of production: Belgium
Country/location of film: Switzerland

Max is a farmer from the Jura Mountains. He lives in Title: Train to Adulthood
an isolated farm in a village called La Cte-aux-Fes, As the Egyptian people rise up in Tahrir Square, a rural Year: 2015
literally The Hill of Fairies. Its winter, time stretches community in the Nile valley follows the revolution on Length: 79 minutes
out and opens a window on imagination. TV, radio and in the newspapers. Intimately shot over Director/filmmaker: Klra Trencsnyi
the three year period from the overthrow of Mubarak to Production: HBO Europe and clipse Film Production
Tizian Bchi was born in the fall of Morsi, we are shown an alternate view of the Country of production: Hungary
1981 in Neuchtel, revolution through the eyes of Farraj, his family, and Country/location of film: Hungary
Switzerland. Studied arts and friends as they make sense of and debate national
cinema at the University of politics. Through the experiences and voices of a Train to Adulthood is a coming-of-age story about three
Lausanne. Worked in film community in the periphery, I Am the People presents a youngsters who find an escape from lifes ordeals by
distribution and as complex picture of the struggle for democracy in Egypt. working on the Budapest Childrens Railway. While
programmer for various Swiss they enjoy playing at being responsible adults on the
festivals, among them Anna Roussillon (1980, Train, at home they are forced to mature abruptly.
Neuchtel International Fantastic Film Festival. He is Lebanon) spent her childhood in The Childrens Train is a metaphor used by the
currently finishing an MA degree in film directing at Cairo and later moved to France, filmmakers to explore present-day Hungary: a country
IAD (Institut des Arts de Diffusion) in Belgium. where she studied Philosophy, faltering in its political and social transition, where
Arab culture and documentary. community ties have been broken and social
At present she is working as an institutions collapsed.
Wednesday, 23 August 2017, at Main Auditorium, Arabist in Lyon, while she is also
Moesgaard Museum: working on a variety of Egypt- Klara Trencsenyi is a freelance director and
13.15-15.15: I Am the People related film projects. Je suis le cinematographer committed to creative and social
Chaired by Rolf Scott (University of Bergen) peuple, her debut, won the major prizes at the Jihlava documentaries. She graduated from the Hungarian
NAFA Network vol. 24.3 (August 2017): G eneral Programme 13

Film Academy in Budapest as struggling to survive and maintain their traditions in in South India, on issues of
Director of Photography. Prior to spite of the overwhelming intrusion of modernity. memory, religion and cultural
Train to Adulthood, she directed two The story takes place in the picturesque, transmission, on which he published
mid-length documentaries (Corvin isolated scenery of the Danube Delta, in Romania. The two books and several articles. At
Variations, 2011, Birds Way, 2009), protagonist is a Russian Lipovan community chased CEU he has taught visual
and a short documentary away from Russia three hundred years ago for not anthropology and anthropological
(3WeddingsElena&Leo, 2009). She accepting the religious reforms of 1666. They have filmmaking since 2007 and is one of
has been awarded various prizes for found refuge in the Delta where they kept their the founders of its Visual Studies
directing and cinematography. language and rituals ever since... at least until now! programme.
Klara has worked in many international productions as Today they have to face new problems: the Vlad has led and participated in several international
director of photography with Dutch, American and absence of a religious leader, the migration of their documentary workshops and summer schools as tutor
Hungarian directors. She has organized the first creative youth and intrusion of new colonizers. The testimonies or lecturer, and worked as consultant in documentary
documentary development workshop in Budapest in of these Old Believers about the recent transformations, film productions. He co-directed Birds Way (2009)
2010 and led courses of documentary filmmaking at the their dying religion and the struggle to preserve archaic with Klara Trencsenyi, an award-winning documentary
Central European University and DocuArt Film Center traditions reveal the vulnerability of a traditional on Russian Old Believers in Romania, and two short
Budapest. community with poetry and humour. Their last films Bread of Life: The Word/The Silence (2014)
'reader' and storyteller, 75-year-old Artiom tells us the based on his research in South India
destiny of Old Believers as laid out in the Book.
Thursday, 24 August 2017, at Main Auditorium,
Moesgaard Museum: Klara Trencsenyi is a freelance director and
13.00-15.00: Birds Way, The Land after the Land, cinematographer committed to creative and social
and Katrushnik documentaries. She graduated from the Hungarian
Chaired by Peter I. Crawford (Aarhus University) Film Academy in Budapest as Director of Photography.
Prior to Train to Adulthood, she directed two mid-
Title: Birds Way length documentaries (Corvin Variations, 2011, Birds
Year: 2009 Way, 2009), and a short documentary (3Weddings
Length: 56 minutes Elena&Leo, 2009). She has been awarded various prizes
Director/filmmaker: for directing and cinematography.
Vlad Naumescu & Klara has worked in many international productions as Title: The Land after the Land
Klra Trencsnyi director of photography with Dutch, American and Year: 2017
Production: Libra Hungarian directors. She has organized the first creative Length: 13 minutes
Film Productions documentary development workshop in Budapest in Director/filmmaker: Omar Barchetta
Country of 2010 and led courses of documentary filmmaking at the Production: CAVA
production: Romania Central European University and DocuArt Film Center Country of production: Italy/UK
Country/location of film: Romania Budapest. Country/location of film: Italy

Birds Way is a magical realist story, an Eastern Vlad Naumescu (b. 02.01.1977) is associate professor Gigio is an ageing peasant who lives in Monte San
European fairy tale. It is a creative documentary that of Anthropology at the Central European University in Martino, a remote village in southern Marche, Italy. He
follows the daily routine of an Old Believer community Budapest, Hungary. He has conducted extensive is also the last member of the local rural community,
fieldwork in Ukraine and Romania, and more recently which no longer exists today. Over the past few decades,
NAFA Network vol. 24.3 (August 2017): G eneral Programme 14

the agricultural exodus has left a desert in its wake. Country/location of film: Belarus An immersive meditation on the passage of time and
Gigios family remained, but his farms destiny seems the persistent resonance of place, Linefork follows the
still uncertain. The film is an attempt to portray the The 85-year-old Belarusian peasant, Uladzimir daily rituals of an elderly couple living in Kentucky's
final echoes of a lost world and its struggle in Ziulikau, has been maintaining an ancient craft that Appalachian Mountains. Now well into his eighties, Lee
contemporary Italian society. saved numerous generations of his ancestors from severe Sexton is the last living link to the distant past of a
winters. The Ziulikau couple are among the last regional American music. A retired coal miner with
Omar Barchetta is an speakers of the dying language of Katrushniky. black lung, Lee and his wife, Opal, continue to farm the
independent filmmaker, land where he was born. Together they face
and graduated in Ales Lapo is a screenwriter, encroaching health concerns and stark economic
Sociology. After obtaining documentary filmmaker and realities. Recorded over three years, Linefork is an
an MA in Audiovisual historian. He graduated from observational film documenting their marriage, their
Production (2007), he Belarusian State University community, their resilience, and the raw yet delicate
started working for the (2009) and is a DOC PRO music of an unheralded banjo legend, linked to the past
Italian television channel, Documentary Programme yet immediately present.
La7, producing video graduate at the Wajda School
contents and contributions (2014). He has participated in Jeff Silva is a filmmaker,
for several documentary series. In 2012 he moved to numerous Belarusian and teacher and film
London, where he is currently working as a video international film festivals. programmer originally
producer. He experiments with a different range of from Boston. Jeff works
media including film, sound, text and photography. across media and genres
Within a social context, he focuses on investigating Thursday, 24 August 2017, at Main Auditorium, but his work shares a
ideas around the destiny of community and society. His Moesgaard Museum: kinship with traditions of
work is imbued with the recurrent themes of time, 15.30-17.30: Linefork experimental film and new
memory and nostalgia. Chaired by Rolf Scott (University of Bergen) modes of ethnographic
documentary, exploring the
quotidian aspects of his
subjects lives, often over
long spans of time. His
most recently completed
projects, including Linefork (2016), Ivan & Ivana
(2011), and Balkan Rhapsodies: 78 Measures of War
(2008) ,have been exhibited at festivals, and museums
internationally, including: MoMA's Documentary
Title: Linefork Fortnight, The Viennale, BAFICI, Visions du Rel,
Title: Katrushnik Year: 2016 Valdivia, and Flahertiana. A long-time affiliate of the
Year: 2016 Length: 96 minutes SEL (Sensory Ethnography Lab) at Harvard University,
Length: 12 minutes Director/filmmaker: Jeff Silva and Vic Rawlings Jeff helped develop the curriculum and methodology of
Director/filmmaker: Ales Lapo Production: Sensory Ethnographic Film Lab Affiliate the program at its inception while a teaching fellow
Production: Ales Lapo Country of production: U.S.A. aside founder and director Lucien Castaing-Taylor. Jeff
Country of production: Belarus Country/location of film: U.S.A. has also been programming documentary and
NAFA Network vol. 24.3 (August 2017): G eneral Programme 15

experimental cinema for nearly two decades. In 2000 Production: Una Film, Azul Femmes de Creteil, Torino Film Festival, Bellaria Film
with Alla Kovgan, he co-founded BALAGAN, the Country of production: Italy Festival, Bergamo Film Meeting.
offbeat and alternative micro-cinema screening series in Country/location of film: Italy
Boston that continues to present marginalized films to
the community.

Vic Rawlings bought his first motion picture camera in

2012 to begin work on Linefork as Co-
Director/Cinematographer/Editor with Jeff Silva; he
was soon taught by Ernst Karel to record sound. He
considers himself a lucky man. This project marks his
entree to filmmaking. He is a musician and freelance
teacher who tours internationally. As a multi- Title: Living with Boko Haram
instrumentalist (banjo/guitar/mandolin/etc.), he has Jacob arrived alone in Italy from French Guinea when Year: 2016
contributed music to film, theater, and television he was 11 years old. He lost his parents in Guinea. Length: 36 minutes
soundtracks. Rawlings is also active as an electro- Today he is 27, hip hop music is his world, his personal Director/filmmaker: Trond Waage & Mouazamou
acoustic musician and sound installation artist. Visiting outlet for expressing dreams, hopes and frustrations, in Ahmadou
artist/teaching residencies have included Oberlin order not to feel part of the ghetto any longer. Jacob Production: VCS, UiT- The Arctic University of
Conservatory, MIT, Harvard, UC Berkeley, UC Davis, lives on the outskirts of Turin where day by day, Norway and TABITAL Visual Anthropology
Princeton, Dartmouth, Wesleyan, among many others. together with the young immigrants of his group, Laboratory, University of Maroua, Cameroon
He lives near Boston, USA. Ghetto PSA ,he writes songs and makes music, while at Country of production: Norway and Cameroon
night he works as an educator in a center for asylum- Country/location of film: Norway and Cameroon
seekers. This dpuble life has led him to reflect on his
Thursday, 24 August 2017, at Kedelen (Godsbanen own identity, a young Italian who speaks three Boko Haram have spread terror and violence
in the city centre), in co-operation with DocLounge languages but does not forget who he is and where he throughout the Lake Chad region since 2009 (Nigeria,
Aarhus: comes from. Niger, Cameroon, Chad). The material destruction is
20.00-23.00: Integration InchAllah, Ghetto PSA, beyond imagination, many have lost loved ones, and
and Living with Boko Haram Rossella Schillaci got a hundreds of thousands have fled their homes. An
Chaired by Balz Andrea Alter (University of master's degree in visual enormous, but still unknown, number of young girls
Basel/Aarhus University) anthropology and and boys have been killed by Boko Haram or have
direction of disappeared.
documentaries in
aarhus England. She has made
documentaries on the
theme of migration and
cultural identities, which
Title: Ghetto PSA have been screened and
Year: 2016 won prizes at many international festivals, such as, apart
Length: 15 minutes from NAFA, the Al Jazeera Film Festival, RAI film
Director/filmmaker: Rossella Schillaci festival, Fespaco, Jean Rouch Film Festival, Film de
NAFA Network vol. 24.3 (August 2017): G eneral Programme 16

This film tries to approach consequences of terrorism Country/location of film: Belgium

following a mother and her son over a dramatic period
of 6 months (in 2015). In this period is Boko Harams Newly arrived immigrants from Syria, Irak, Morocco...
violent insurgency getting closer and closer to the village that will have to follow a mandatory integration course
Mogod, on the Cameroon-Nigerian border, where the in Flanders, called inburgering. To obtain their
mother, Antoinette lives. The son Vakote, who lives in certificate, they will have to learn the habits and
Oslo, Norway, tries as well as he can to follow the customs from Flanders and Belgium. With humour and
situation back home and to support his mother. tenderness, Integration InchAllah follows these
characters throughout their journey.
Trond Waage and Length: 71 minutes
Mouadjamou Ahmadou Pablo Munoz Gomez, after his Director/filmmaker: Mattijs van de Port
have collaborated since Waage filmmaking studies at IAD Production: Mattijs van de Port
did his first long fieldwork in (Belgium), met a huge success Country of production: The Netherlands
Cameroon in 1998. with his graduation film Welkom. Country/location of film: Brazil.
Maoudjamou was then Dealing with surrealist humour
Waages teacher in the field. about language related problems What is it that you film when you film a spirit? Shot in
Later did Moudjamou come in Belgium, he won the Magritte Bahia (Brazil), The Possibility of Spirits is an essay film
to Troms to do a master in for the best short film in 2014 that keeps the baffling mystery of spirit possession
Visual Cultual Studies, where Waage teaches. They (Belgian academy award). He got center stage. In a poetic assemblage of images and
have later worked on several projects together and are selected to more than a hundred festivals over the words, it offers an alternative for the kind of
currently a part of the VISCAM project, collaboration world, namely to Clermont Ferrand, and received about documentary that either exoticizes spirit possession in
between the universities in Ngaoundr, Maroua and thirty international prizes. spectacular imagery, or extinguishes the wonder of the
Troms, to develop and strengthen the visual phenomenon in explanatory prose. The possession
anthropology programs at the three universities. In 2016, Pablo Munoz Gomez comes back with ceremonies, filmed in close up, first and foremost reveal
Integration Inch'Allah, his first professional that we don't know what it is that we are looking at.
documentary, for which he had to undergo three years Words -- of the filmmaker, as well as of his
of immersion. The movie follows Arabic newly arrived interlocutors -- are allowed to drift out of meaning.
immigrants during their integration course in Antwerp. Trying to grasp the phenomenon, they become silence,
With humour and care, the film patiently observes these or laughter, or screaming. Paying tribute to the extra-
individuals' daily lives. ordinariness of its subject matter, this film invites
viewers to allow themselves to be confused and -- in
that confusion -- consider the possibility of spirits.
Friday, 25 August 2017, at Main Auditorium,
Moesgaard Museum: Mattijs van de Port is
Title: Integration InchAllah 9.30-11.15: The Possibility of Spirits and Archives of associate professor of
Year: 2016 Extinction anthropology at the
Length: 59 minutes Chaired by Rolf Scott (University of Bergen) University of Amsterdam and
Director/filmmaker: Pablo Munoz Gomez full professor at the VU
Production: Wallonie Image Peroduction Title: The Possibility of Spirits University Amsterdam. In the
Country of production: Belgium Year: 2016 latter institution he holds a
NAFA Network vol. 24.3 (August 2017): G eneral Programme 17

chair in 'popular religiosity'. He did research in Serbia, and reveals with humour and spontaneity the mystery
and since 2001 in Bahia, Brazil. He is author of a Alyse Takayesu studies the of female ejaculation.
monograph on Gypsy musicians and their Serbian anthropology of science at New Sacred Water confronts the western viewer with its own
customers (1998) and on global encounters on the York University. Her PhD intimacy and immerses you into a modern Rwanda
threshold of candombl temples in Bahia (2011). His project explores practices of rediscovering its heritage in the most secret way: female
first documentary, Saborear Frutas Brasileiras, on eating nature conservation and pleasure.
Brazilian fruits, was shown at the RAI Ethnographic restoration in the Hawaiian
Film Festival in Edinburgh, and theorized, with Islands. Olivier Jourdain is passionate
Annemarie Mol, in the Journal of the Royal about Visual Anthropology and
Anthropological Institute (2013). The Possibility of studied Filmmaking in London and
Spirits, using footage from six years of filming in Bahia, Anthropology in Leuven (KUL),
was completed in 2016, and has been selected in various Friday, 25 August 2017, at Main Auditorium, after receiving a Masters in
ethnographic film festivals. Moesgaard Museum: Communication in Brussels,
11.45-13.00: Sacred Water and You Cant Hide from IHECS. He has been trvelling to
the Truth Sub-Saharan Africa for over fifteen
Chaired by Rolf Scott (University of Bergen) years, which has changed his views on the vast and
diverse continent. From Mali to Madagascar, the
Congo, Ivory Coast and Rwanda, he has had the
opportunity to make numerous documentaries and
promotional films for NGO's and local communities.

Title: Archives of Extinction

Year: 2016
Length: 12 minutes
Director/filmmaker: Alyse Takayesu Title: Sacred Water
Production: New York University Year: 2016
Country of production: U.S.A. Length: 56 minutes
Country/location of film: U.S.A. Director/filmmaker: Olivier Jourdain
Production: Wallonie Image Production
Throughout the 19th century, scientists transformed Country of production: Belgium Title: You Cant Hide From the Truth
living birds into dried, stuffed, and otherwise preserved Country/location of film: Rwanda Year: 2016
scientific specimens. Today, scientists seek to transform Length: 29 minutes
these lifeless specimens into living birds through the Sacred Water is a respectful ode to female pleasure in Director/filmmaker: A.a.V Amasi
emerging science of de-extinction. Exploring these Rwanda, with a sense of humour and not a trace of Production: Goatfame
transformations, Archives of Extinction evokes questions embarrassment. Guided by Vestine, an extravagant star Country of production: UK
about de-animating and re-animating forms of life and of radio nights, the film discovers Rwandan sexuality in Country/location of film: Zimbabwe
about the human role in disassembling past and search of the water that gushes out the female body
reassembling future ecologies.
NAFA Network vol. 24.3 (August 2017): G eneral Programme 18

You Can't Hide From The Truth is a musical insight into Title: Grabbing Dignity journalism, documentary filmmaking to fiction and co-
a family living in the midst of an economic and political Year: 2017 creative videos.
crisis. A boy and his father struggle to make ends meet Length: 32 minutes
on the streets of Zimbabwe. Their relationship is put to Director/filmmaker: Felipe Roa Pilar
the test when the father pursues past musical dreams Production: Queltehue Films Collective
that could affect the boys future. Country of production: Denmark
Country/location of film: Chile
A.a.V Amasi is a Zimbabwean
documentary filmmaker Gina lives in the most emblematic illegal settlement in
making films that tell the recent Chilean history: La Toma de Pealoln. After a
African story both home and in lifetime of fighting for housing rights and their dignity,
the diaspora. After making a Gina and her community have finally been offered
film about Aids and how it subsidised council housing with access to public
affects prostitutes in Zimbabwe, services, and seemingly the opportunity to change their Title: The Day the Sun Fell
he joined the NFTS to develop lives. However, the relocation is experienced as a Year: 2015
his story telling skills. His latest short film, We Are dramatic loss of their sense of Length: 78 minutes
Here, looks at African immigrants and how they are place. Grabbing Dignity focuses on the need of Director/filmmaker: Aya Domenig
received in today's Europe through different characters understanding dignity beyond individual beliefs and Production: Ican Films GmbH
perspectives. The film has been shown at the Africa material goods, focusing rather on dignity as a Country of production: Switzerland, Finland
International Film Festival (Afriff) in Nigeria. A.a.V. condensed collective notion that is strongly based Country/location of film: Japan
currently lives in England and hopes to mostly work in on ones sense of place and acceptance in society.
Africa on issue-based documentaries. Swiss-Japanese filmmaker Aya Domenig, the
Felipe Roa Pilar is an granddaughter of a doctor on duty for the Red Cross
ethnologist and filmmaker during the 1945 atomic bombing of Hiroshima,
Friday, 25 August 2017, at Main Auditorium, from Chile based in Aarhus, approaches the experience of her deceased grandfather
Moesgaard Museum: Denmark. Throughout his by tracing the lives of a doctor and of former nurses
14.00-16.15: Grabbing Dignity and The Day the Sun academic background, he has who once shared the same experience. While gathering
Fell combined a cross-disciplinary the memories and present views of these very last
Chaired by Orsolya Veraart (CinTrans) approach characterised by an survivors, the nuclear disaster in Fukushima strikes and
interconnection between history seems to repeat itself.
anthropology, documentary filmmaking and
development issues. His work as a documentary Aya Domenig was born in
filmmaker has developed into a personal and academic Japan in 1972 and grew up in
interest in the potentiality of filmmaking in closing in Switzerland. From 1992 until
on, understanding and representing other peoples lives, 2000 she studied Social
especially the voice of the marginalised, which has Anthropology, Film Studies
meant the exploration of different topics from human and Japanology at the
rights to environmental-related issues. As part of these University of Zurich. She
experiences, Felipe has evolved a flexibility in exploring specialized in Visual
different ways of audio-visual representations from Anthropology and graduated with her documentary
NAFA Network vol. 24.3 (August 2017): G eneral Programme 19

film Oyakata (The Master), which was awarded the the film itself was produced inclusively in close
Student Video Prize at the 7th RAI International cooperation with the artists. In a journey through their
Festival of Ethnographic Film in London. From 2001 pictorial worlds the focus was set on their aesthetic
to 2005 she studied Film Directing at the Zurich obsessions and videography. Verging on documentary
University of the Arts (ZHdK). Her graduation film and ethnofiction, their subversive imagery displays
Haru Ichiban (Spring subjectivity as accidental and playful experience in
Storm) was screened at various international Film space. For them, art is neither a form of critique nor an
Festivals and was awarded the Prix Cincinma at the alternative
Premiers Plans Film Festival in Angers. Her latest film, reality, but the quintessence of bourgeois work that
The Day the Sun Fell, premiered at the 68th edition of enables them a status as citizens. This is one of many
the Locarno International Film Festival (Critics Week) realizations that occurred during the work on this film,
and was nominated for the Swiss Film Prize 2016. that most ideas about disability culture & art brut are
excluding misconceptions.

Friday, 25 August 2017, at Lecture Hall, Dept. of Jana Papenbroock studied art
Anthropology (4206-139), Moesgaard: and film in Hamburg, Paris and
16.45-18.15: Why is Mr. W. Laughing? Cologne where she completed
Chaired by Peter I. Crawford (Aarhus University) her diploma at the Academy of
Media Arts in 2010 with an
essay film about outcasts living
on the borders of Germany.
Since then she has been working
as a freelance author and filmmaker based in Berlin.
Why is Mr. W. Laughing? is her documentary feature

Title: Why is Mr. W. Laughing

Year: 2017
Length: 76 minutes
Director/filmmaker: Jana Papenbroock
Production: Papenbroock Film
Country of production: Germany
Country/location of film: Germany

Why is Mr. W. Laughing? is a portrait of three members

of an atelier community of artists with different
disabilities. Rather than making a film about inclusion,