Reaching Philadelphia from Luxembourg for the 31st edition of the Visible Evidence Conference felt like stepping through a cinematic lens. My early morning arrival into the city presented an immediate sense of vintage Americana, evoked by the unfamiliar design of local buses and the endless, uniform red-brick row homes that define the urban fabric, and instantly reminiscent of 1960s American films. This sense of place, blending history with contemporary urban life, set a thoughtful mood for a conference centered on “Community”.
The conference took place from August 3 – 7, 2025, and was hosted by Temple University’s Film and Media Arts department, a sprawling academic complex that impressed with its scale and integration into the city. I was honored to be a part of this scholarly convergence, which began with a thoughtful acknowledgment of the land of Philadelphia as part of Lënapehòkink, the ancestral homelands of the Lenape peoples.
About the Event: Community and Global Context
Visible Evidence is the foremost academic gathering dedicated to documentary film studies. This year’s theme, “Community”, was inspired by Philadelphia’s significant history in community media. The conference successfully expanded this topic into a globally-oriented discourse, welcoming scholarship that conceived of community in its broadest sense, from practitioners to virtual, digital collectives. For five dense days, the conference served as a vital forum for intellectual exchange through scholarly papers and screenings, all presented in person.
A Harvest of Knowledge and Inspiration
Due to the sensitive nature of political situations, the specifics of individual panels and participants are best left private. However, the conceptual impact of the event was profound.
My own research is rooted in documentary film aesthetics, focusing on the intrinsic qualities of the film object. The week-long immersion into the multidisciplinary concept of “Community” helped me re-contextualize this work. It was inspiring to see academicians from different fields engaging with documentary studies in a broader social and ethical context. This affirmed that even purely aesthetic research is enriched when it acknowledges the real-world community mandates that shape our art form.
Reflecting on my experience at Visible Evidence XXXI, I am energized by the intellectual stimulation and the connections forged with scholars from across the globe. This year too, I had the privilege of meeting and communicating with Michael Renov, widely regarded as one of the foundational figures of contemporary documentary film theory, the founder of the Visible Evidence conference and Associate Dean of Academic Affairs at the USC School of Cinematic Arts. And this year, when we took a photo together, he commented that it felt like he was handing something over to me with this photo. His words were deliberately vague, but they carried an emotional weight that I understood as a kind of blessing – an encouragement to continue my theoretical explorations in documentary cinema.
My Research: Crowdsourced Aesthetics and Institutional Tension
As part of the conference, I had a paper presentation titled Crowdsourced Aesthetics in Documentary Films: How Festivals Influence Narrative and Visual Trends.
This study reflected ongoing findings within the framework of my dissertation related to festival studies.
The Core Problem: The core problem my research addresses is how the major festivals of small countries, examined through the Golden Apricot International Film Festival (GAIFF) and the Luxembourg City Film Festival (LuxFilmFest), can affect national documentary cinema. Certain stylistic and narrative tendencies gain visibility within national cinema not only through filmmakers’ creative practices but also through the legitimizing role of festivals that select, circulate and validate them. This dynamic produces an institutional tension: while festivals in smaller countries are tasked with serving as cultural platforms, educational arenas and networking hubs, their curatorial choices simultaneously establish aesthetic norms that influence what is recognized as legitimate documentary practice. In this sense, festivals may operate both as catalysts for innovation and as mechanisms of constraint, fostering some forms of creativity while narrowing the possibilities for others.
Final Thoughts and Gratitude
I extend my gratitude to the Doctoral School in Humanities and Social Sciences (DSHSS) at the University of Luxembourg for providing the financial support necessary for my participation. My deepest appreciation also goes to my doctoral supervisor, Dr. Gian Maria Tore, whose critical guidance remains invaluable in shaping my academic journey.
During the film festivals sometimes it happens that you plan to watch a specific film, but at the end of the festival you realize you missed it. I decided to make a list of documentaries to be screened during the GAIFF 2025 to help me later decide which films I don’t want to miss out. I’m sharing the list for the ones who are interested in documentaries particularly.
July 14
10:00 AM | House of Cinema, Grand Hall
The Wolves Always Come at Night (dir. Gabrielle Brady) – 95 min
12:30 PM | House of Cinema, H. Malyan Hall
Abo Zaabal 89 (dir. Bassam Mortada) – 83 min
5:00 PM | House of Cinema, H. Malyan Hall
Abo Zaabal 89 (dir. Bassam Mortada) – 83 min
7:00 PM | House of Cinema, H. Malyan Hall
Ojakh, On the Other Side of the Silence (dir. Diana Mkrtchyan) – 95 min
7:30 PM | House of Cinema, Grand Hall
My Armenian Phantoms (dir. Tamara Stepanyan) – 75 min
July 15
5:00 PM | House of Cinema, H. Malyan Hall
Armenians, The Hidden Grandmothers (dir. Alexandra Routhiau Mikaélia) – 53 min
6:00 PM | Kinomoscow, Blue Hall
Light Memories (dir. Misha Vallejo Prut) – 80 min
8:00 PM | Kinomoscow, Blue Hall
The Coin (dir. Emiliano Dante) – 79 min
9:00 PM | House of Cinema, H. Malyan Hall
The Wolves Always Come at Night (dir. Gabrielle Brady) – 95 min
July 16
10:00 AM | House of Cinema, Grand Hall
Fiume o morte! (dir. Igor Bezinović) – 112 min
1:00 PM | House of Cinema, Grand Hall
Holy Electricity (dir. Tato Kotelishvili) – 95 min
5:30 PM | Kinomoscow, Blue Hall
Pathologic (dir. Arsen Sarkisyan) – 40 min
6:00 PM | Kinomoscow, Blue Hall
Fiume o morte! (dir. Igor Bezinović) – 112 min
7:30 PM | Kinomoscow, Blue Hall
The Lilac Wind of Paradjanov (dir. Ali Khamraev) – 75 min
9:00 PM | House of Cinema, H. Malyan Hall
Panting (dir. Gagik Ghazareh) – 102 min
July 17
10:00 AM | House of Cinema, Grand Hall
Songs of Slow Burning Earth (dir. Olha Zhurba) – 95 min
10:00 AM | House of Cinema, H. Malyan Hall
Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi) – 110 min
12:30 PM | House of Cinema, Grand Hall
The Coin (dir. Emiliano Dante) – 77 min
12:30 PM | House of Cinema, H. Malyan Hall
The Lions by the River Tigris (dir. Zaradasht Ahmed) – 90 min
4:00 PM | House of Cinema, Grand Hall
Gone is Nowhere (dir. Katinka Fogh Vindelev & Louise Gorm) – 43 min
6:00 PM | Kinomoscow, Blue Hall
Songs of Slow Burning Earth (dir. Olha Zhurba) – 95 min
6:00 PM | Kinomoscow, Red Hall
Pathologic (dir. Arsen Sarkisyan) – 40 min
8:00 PM | Kinomoscow, Blue Hall
Waiting for Don Quixote (dir. Nariné Mkrtchyan, Arsen Azatyan) – 105 min
July 18
10:00 AM | House of Cinema, Grand Hall
Tehran, An Unfinished History (dir. Saeed Nouri) – 100 min
10:00 AM | House of Cinema, Grand Hall
At The Edge of the World (dir. Sophie Muselle, Guérin van de Vorst) – 120 min
1:00 PM | Kinomoscow, Blue Hall
Light Memories (dir. Misha Vallejo Prut) – 80 min
12:30 PM | House of Cinema, Grand Hall
Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser) – 87 min
5:00 PM | House of Cinema, Grand Hall
Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser) – 87 min
5:00 PM | House of Cinema, H. Malyan Hall
Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi) – 110 min
7:00 PM | House of Cinema, Grand Hall
Tehran, An Unfinished History (dir. Saeed Nouri) – 100 min
7:00 PM | House of Cinema, H. Malyan Hall
The Lions by the River Tigris (dir. Zaradasht Ahmed) – 90 min
8:00 PM | Kinomoscow, Blue Hall
At The Edge of the World (dir. Sophie Muselle, Guérin van de Vorst) – 120 min
July 19
3:30 PM | House of Cinema, H. Malyan Hall
Gor – Fled from Nagorno-Karabakh (dir. Katja Fedulova) – 24 min
9:00 PM | House of Cinema, H. Malyan Hall
Goyamart, Fight for Existence (dir. Arsen Yesayan) – 60 min
2:30 PM | House of Cinema, Grand Hall
My Armenian Phantoms (dir. Tamara Stepanyan) – 75 min
The Wolves Always Come at Night (dir. Gabrielle Brady) “The Wolves Always Come at Night” is a documentary that explores the challenging lives of patients residing in a nursing home for the severely ill and mentally disabled in Chechnya. The film intimately portrays their daily struggles and the harsh realities they face, offering a poignant look at their existence within the confines of the institution.
Length: 95 min
Screenings:
July 14, 10:00 AM at House of Cinema, Grand Hall
July 15, 9:00 PM at House of Cinema, H. Malyan Hal
My Armenian Phantoms (dir. Tamara Stepanyan) Filmmaker’s nostalgic journey through Armenian cinema, reflecting on her late father’s acting career and her own artistic path, blending personal memories with a celebration of the country’s cinematic heritage.
Length: 75 min
Screenings:
July 14, 7:30 PM at House of Cinema, Grand Hall
July 19, 2:30 PM at House of Cinema, Grand Hall
Holy Electricity (dir. Tato Kotelishvili) Tato Kotelishvili’s “Holy Electricity” delves into the intricate relationship between people and power in Georgia. The film explores the socio-economic impact of electricity, showcasing how its availability or absence shapes the daily lives, aspirations, and struggles of various communities across the country.
Length: 95 min
Screenings:
July 14, 8:30 PM at Kinomoscow, Blue Hall
July 16, 1:00 PM at House of Cinema, Grand Hall
Abo Zaabal 89 (dir. Bassam Mortada) “Abo Zaabal 89” chronicles the lives of individuals incarcerated in Egypt’s notorious Abo Zaabal Prison. The documentary provides a rare and unsettling glimpse into the prison’s harsh conditions and the experiences of its inmates, highlighting themes of human rights and the justice system.
Length: 83 min
Screenings:
July 14, 12:30 PM at House of Cinema, H. Malyan Hall
July 14, 5:00 PM at House of Cinema, H. Malyan Hall
Ojakh, On the Other Side of the Silence (dir. Diana Mkrtchyan)
Length: 95 min
Screening:
July 14, 7:00 PM at House of Cinema, H. Malyan Hall
Light Memories (dir. Misha Vallejo Prut) “Light Memories” is a documentary that explores the fading art of film photography in the digital age. The film captures the essence of this traditional craft and the passion of those who still practice it, reflecting on memory, time, and the tangible nature of photographic prints.
Length: 80 min
Screenings:
July 15, 6:00 PM at Kinomoscow, Blue Hall
July 18, 1:00 PM at Kinomoscow, Blue Hall
The Coin (dir. Emiliano Dante) “The Coin” is a compelling documentary that tells the story of an Italian man’s desperate struggle with gambling addiction. The film intricately portrays the devastating impact of this addiction on his life and relationships, as he attempts to confront his inner demons and seek recovery.
Length: 79 min (77 min for July 17 screening)
Screenings:
July 15, 8:00 PM at Kinomoscow, Blue Hall
July 17, 12:30 PM at House of Cinema, Grand Hall
Armenians, The Hidden Grandmothers (dir. Alexandra Routhiau Mikaélia) The director Alexandra Routhiau Mikaélian, French of Armenian origin, made a promise to her grandfather to find the members of their family in Turkey based on a simple name, Shahimé, this sister he was never able to meet.
Length: 53 min
Screening:
July 15, 5:00 PM at House of Cinema, H. Malyan Hall
Fiume o morte! (dir. Igor Bezinović) In 1919, outraged by the outcome of the Paris Peace Conference, which proposed handing the city of Fiume (now Rijeka, Croatia) to Yugoslavia, Italian poet, aristocrat, and army officer Gabriele D’Annunzio occupied the city. The ensuing 16-month occupation stands as one of history’s most peculiar experiments in governance.
Length: 112 min
Screenings:
July 16, 10:00 AM at House of Cinema, Grand Hall
July 16, 6:00 PM at Kinomoscow, Blue Hall
Pathologic (dir. Arsen Sarkisyan) Time after time, the three of them wake up in a homeless world. Each of them goes their own way, but he always comes to the same place. Is there a way out?
Length: 40 min
Screenings:
July 16, 5:30 PM at Kinomoscow, Blue Hall
July 17, 6:00 PM at Kinomoscow, Red Hall
The Lilac Wind of Paradjanov (dir. Ali Khamraev) Filmmaker Ali Khamraev, accompanied by cinematographer Yuri Klimenko delved into the archives and travelled to Armenia and Georgia to honour Sergei Parajanov: one of cinema’s greats, whose vision and defiance of convention transcended borders. “Dear Sergei Parajanov. This film is for you.”
Length: 75 min
Screening:
July 16, 7:30 PM at Kinomoscow, Blue Hall
Panting (dir. Gagik Ghazareh) On September 27, 2020, with open support from the Republic of Turkey and the Russian Federation, Azerbaijani forces launched a large-scale military offensive against the Republic of Artsakh (Nagorno-Karabakh Autonomous Region). Thousands of citizens of the Republic of Armenia volunteered to defend the right of 150,000 residents of the Republic of Artsakh to live in their Armenian homeland. This film was created following the ceasefire agreement of November 9, 2020, documenting the defense of a newly established section of the Armenian state border during two shifts by a volunteer platoon.
Length: 102 min
Screening:
July 16, 9:00 PM at House of Cinema, H. Malyan Hall
Songs of Slow Burning Earth (dir. Olha Zhurba) Reflective observations of Ukraine in wartime are interwoven with eye-witness accounts to contemplate the ultimate tragedy: the normalization of war. A co-production between Ukraine, Denmark, Sweden and France, it had its world premiere at the 81st edition of the Venice Film Festival.
Length: 95 min
Screenings:
July 17, 10:00 AM at House of Cinema, Grand Hall
July 17, 6:00 PM at Kinomoscow, Blue Hall
Gone is Nowhere (dir. Katinka Fogh Vindelev & Louise Gorm) The music film work explores the innate inner dissonance of generational trauma in a documentary and performative treatment of the movement, elongation and fragmentation of escape. Based on the Armenian Genocide and Danish humanitarian Karen Jeppe’s extensive work to rescue thousands of captured Armenian refugees, mainly women and children in the early 20th century, the horrors of the past are revealed in flashes. ‘Gone is Nowhere’ emphasizes how the complex and elongated nature of refuge, in the face of the cyclical dynamics of human experience, can never be confined to one time, but will continue to affect present and future generations.
Length: 43 min
Screening:
July 17, 4:00 PM at House of Cinema, Grand Hall
Waiting for Don Quixote (dir. Nariné Mkrtchyan, Arsen Azatyan) This is a philosophical essay – a reflection on the present of post-war Armenia, where reality and imagination have blended into each other, where the people are desperately seeking “saviors”. In this situation, the creative embodiment of Don Quixote, who appears in this film, proves that there is a very thin border between reality and imagination, and all one needs to do is believe.
Length: 105 min
Screening:
July 17, 8:00 PM at Kinomoscow, Blue Hall
Tehran, An Unfinished History (dir. Saeed Nouri) Tehran, An Unfinished History uncovers a lost century of Tehran’s transformation through rarely seen footage from Iran’s national film archives. Revealing a city of striking contrasts—cosmopolitan flair alongside deep social divides—the film shows how pre-revolutionary Iranian cinema captured a world now vanished. Featuring 150 archival clips, it offers a rare and poignant glimpse into a forgotten cinematic and urban past, reconstructing a nation’s history through the sociopolitical shifts of its capital.
Length: 100 min
Screenings:
July 18, 10:00 AM at House of Cinema, Grand Hall
July 18, 7:00 PM at House of Cinema, Grand Hall
Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser) As Hamas tightens control over Gaza, Yahia seeks vengeance for his friend Ossama’s brutal murder. His encounter with the killer alters everything.
Length: 87 min
Screenings:
July 18, 12:30 PM at House of Cinema, Grand Hall
July 18, 5:00 PM at House of Cinema, Grand Hall
Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi) An intimate window into life in Gaza amidst Israeli bombardment, captured through video calls with photojournalist Fatima Hassouna. (ACID Cannes 2025)
Length: 110 min
Screenings:
July 17, 10:00 AM at House of Cinema, H. Malyan Hall
July 18, 5:00 PM at House of Cinema, H. Malyan Hall
The Lions by the River Tigris (dir. Zaradasht Ahmed) Zaradasht Ahmed’s “The Lions by the River Tigris” captures the ongoing struggle for healing and cultural preservation in Mosul, a city devastated by conflict. The film follows three men – a fisherman protecting a cherished marble gate, an antique collector salvaging remnants of the city’s past, and a musician inspiring a new generation, as they work to reclaim the city’s identity and art. It’s a poignant testament to human dignity and the fight for freedom of expression in the face of destruction.
Length: 90 min
Screenings:
July 17, 12:30 PM at House of Cinema, H. Malyan Hall
July 18, 7:00 PM at House of Cinema, H. Malyan Hall
Gor – Fled from Nagorno-Karabakh (dir. Katja Fedulova) Thirteen-year-old Gor and his family fled to Armenia from Nagorno-Karabakh. They had to leave their home overnight, with only a few belongings, likely for good. Like many others, they fled from the Azerbaijani army. Their entire previous life was left behind as the parents locked the door of their house. When Gor turned ten, his father taught him how to drive. Cars have been Gor’s passion ever since. However, Gor’s biggest dream is to become a hairdresser. He likes cool hairstyles. The escape of the large family was only possible with two cars, but who would drive the second car? For Gor, it was quickly clear that he must now take responsibility. Everyone knew it wouldn’t be an easy journey. Many people were fleeing Nagorno-Karabakh and there were traffic jams lasting for hours. The journey, which normally takes three hours, took 55 hours without a break. Gor made it and the family is now in Armenia. As a reward Gor is now being trained by a celebrity hairdresser in Yerevan.
Length: 24 min
Screening:
July 19, 3:30 PM at House of Cinema, H. Malyan Hall
Goyamart, Fight for Existence (dir. Arsen Yesayan)
Length: 60 min
Screening:
July 19, 9:00 PM at House of Cinema, H. Malyan Hall
Full program of Golden Apricot 2025 can be found here: https://gaiff.am/
While being an educator, researcher and filmmaker, I use my free time to try myself as a mixed media assemblage artist with luminous elements.
The idea came during my research – I explore the topic of the aesthetics of materiality in cinema, and playing with materials in frames of these artworks helps me to explore the essence of materials and their hidden nature. So far, I have published the videos on my social media accounts, but soon I’ll start to exhibit my works to the public.
Over the past decade, I have had the privilege of leading a series of documentary filmmaking trainings aimed at empowering youth workers, educators, and leaders to use film as a tool for social change. These trainings, known as the Docu series, have taken place across different countries, equipping participants with storytelling skills to advocate for human rights, fight hate speech, and promote environmental sustainability. Today, I want to introduce you to one of these transformative experiences – EcoDocu 2024, a training course that took place exactly one year ago in Barcelona, where participants created five short documentary films about environmental issues.
Margarida, Karim and Arpi during the filming
Under the warm skies of Barcelona, from February 11 to 20, 2024, a vibrant group of youth workers, educators, and leaders gathered for an experience that would reshape their perspectives on environmental advocacy. EcoDocu was more than just a training course; it was an opportunity to blend creativity with purpose, storytelling with activism, and media with sustainability.
From the first day, participants, coming from the European Union and the Eastern Partnership countries found themselves immersed in a transformative learning environment. Many arrived with no prior connection to documentary filmmaking or the arts as the selection criteria was to be youth workers, youth leaders or educators. Yet, by the end of the training, they had gained not only technical skills but also the confidence to capture compelling narratives that could spark change.
Lights, Camera, Action – Learning Through Practice
EcoDocu embraced C3 Filmmaking, an approach that combines creativity, critical thinking and collaboration. Participants engaged in hands-on workshops, where they learned how to handle a camera, use a stabilizer, adjust focus, and master the art of transitions and secondary scenes. They explored media recycling, discovering innovative ways to repurpose existing footage to tell new stories.
One of the most impactful sessions focused on media advocacy, empowering participants to use film as a tool for environmental education. They reflected on the Sustainable Development Goals (SDGs) and brainstormed ways to integrate them into their future work with young people. More than just technical training, EcoDocu encouraged participants to pay attention to everyday actions and how these small, seemingly insignificant choices shape the bigger picture of sustainability.
Brainstorming group task
From Storytelling to Action
As the days progressed, participants gained insight into the power of storytelling—how the right framing, the right cut, and the right music can elevate a simple moment into a meaningful statement. They discussed copyright rules, learned the basics of editing, and experimented with free tools that made professional-quality filmmaking accessible to all.
For many, this training was not just about filmmaking but about seeing the world through a new lens – both literally and figuratively. As one participant said, “I started to understand how to use a camera not just to record, but to capture the essence of a moment.” The knowledge they gained was not meant to stay in Barcelona; it was meant to be carried forward—to their communities, to their youth groups, to the stories still waiting to be told.
Title: You can Sea me Authors: Anastasiia Sereda, Diogo Miguel Oliveira Martins, Olesia Kovalyk, Nara Hovhanisyan, Elina Petrosyan How pollution affects the daily lives of fishermen…
Leftovers: Food for Thought Authors: Arpi Chobanyan, Margarida Ribeiro Cosme, Karim Soliman Change your habits. Prevent food waste in your home
The “Green” Choice (Greenwashing) Authors: José Pedro Vieira Martins, Claudia Valeria Barrantes Sotomayor, Petra Duchanová, Kateryna Korsun Do your research, choose wisely
Deforestation
Authors: Nazarii Patratii, Prajun Nakarmi, Silas, Angeliki Korda
Barcelona, a Tale of a Sustainable city Authors: Antonis Konstantakis, Giorgos Pentaris, Lusine Hovhannisyan, Ofelia Ghazanchyan, Sofia Carvalho
The short documentary films created during EcoDocu 2024 may not claim to be the most powerful in a conventional sense, but they certainly helped participants rethink their habits in a more sustainable way. Moreover, these films became tools to promote an ecological mindset in their communities, sparking discussions and encouraging more responsible approaches to everyday life.
A Growing Movement
EcoDocu is part of a larger initiative that has been shaping the landscape of documentary filmmaking training for nearly a decade. Since 2015, I have been leading documentary film trainings across Europe, fostering a community of youth workers and educators passionate about using film as a tool for social change. Past training courses include:
MovieDoc (2017, Dilijan, Armenia): Promotion of Human Rights Education. Organized by the “Foreign Students of Luxembourg” Union, financed by the Luxembourgish Erasmus+ National Agency – SNJ.
DocuSpeech Against Hate Speech First TC (2018, Luxembourg, Luxembourg): Organized and hosted by Formation et Sensibilisation Luxembourg ASBL, financed by Luxembourgish Erasmus+ National Agency – Anefore.
DocuSpeech Against Hate Speech First TC (2019, Yerevan, Armenia): Organized by Formation et Sensibilisation Luxembourg ASBL, financed by Luxembourgish Erasmus+ National Agency – Anefore, hosted by Doctor Cinema NGO.
DocuSpeech for Human Rights Education (2019, Yerevan, Armenia): Organized by Frie Filmere NGO, financed by Norwegian Erasmus+ National Agency Aktiv Ungdom, hosted by Doctor Cinema NGO.
I am sure that the future training courses in the Docu series will continue to empower youth leaders to use documentary filmmaking as a tool for education and activism. Are you ready to be part of this movement? Follow our upcoming announcements and join the next edition of the Documentary Filmmaking Training Series. Let’s turn stories into action and action into change!
Keep filming!
Seg Kirakossian
With some of the participants of the EcoDocu project and my co-trainer Arman Azizyan
Disclaimer: This project is funded by the Erasmus+ Programme of the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.
Reaching Melbourne from Luxembourg required three long-distance flights, with around 25 hours spent in the air. It was worth crossing half of the earth to participate in the 30th edition of the Visible Evidence Conference at Monash University.
Port Campbell National Park, by the Great Ocean Road in Victoria, Australia
I would like to acknowledge the Traditional Owners of the land on which we were gathered during the conference VE, the Boon Wurrung people of the Kulin Nation. I pay my respects to their Elders past, present, and emerging, and I extend that respect to any Aboriginal and Torres Strait Islander people joining us today. This text was pronounced at the beginning of any event – from academic sessions to cultural gatherings.
As a person who was not informed deeply about the happenings in Australia against Aboriginal people, first I was surprised. Later I understood that this consistent act of remembrance was a poignant reminder of how history, when confronted honestly, can become a tool for preventing future injustices. In this manner, the conference opened with films by the Karrabing Film Collective, a grassroots Indigenous media group whose work sheds light on the struggles and resilience of First Nations communities. These films set a reflective and respectful tone for the entire event.
Q&A after the Conference Opening Film by Karrabing Film Collective at Australia’s National Museum of Screen Culture ACMI
About the Event
Visible Evidence is one of the most significant academic gatherings dedicated to documentary film studies since 1993. Over the past 30 years it has provided a platform for scholars, filmmakers, and researchers to discuss, debate, and redefine the aesthetics, ethics, and impact of documentary cinema in different disciplines. In 2024 the VE conference took place at Monash University’s Caulfield Campus in Melbourne, Australia on December 17-20th.
Opening Ceremony at the Caulfield Campus, Monash University
A Harvest of Knowledge and Inspiration
During the Workshop Led by Laura Rascaroli
One of the highlights of my participation was the workshop titled The City Essay Film led by Laura Rascaroli from the University College of Cork, Ireland. This session offered new perspectives on how the relationship between the filmmaker and the filmed environment creates meaning. Rascaroli encouraged us to think about thought as a movement – a journey, a weaving of ideas, helping me conceptualize a fresh direction for my PhD research. Specifically, I began developing a paper on the creative means of materialization of the inner dynamics in documentary films.
The conference also exposed me to the ideas of leading scholars in the field. World-renowned documentary film scholar Michael Renov, one of the founding figures of Visible Evidence, made a thought-provoking remark – the documentary was largely ignored in the 1970s because it was perceived as being too human-centric. This statement resonated with me deeply, particularly in light of current shifts in the representation of documentary cinema regarding funding policies and digital on-demand services.
To my great surprise, Armenian films were featured prominently in two conference presentations. Julia Vassilieva from Monash University discussed Artavazd Pelechian: “Nature”, Machine Vision, and Algorithmic Sensibility, highlighting how the legendary Armenian filmmaker’s poetic approach challenges conventional modes of perception. Meanwhile, Vlada Lodesk from the University of Southern California referenced the film Stone, Time, Touch by Canadian-Armenian filmmaker Garine Torossian in her presentation on Haptic Visuality in Nonfiction. Seeing Armenian filmmakers recognized in an international academic setting was both inspiring and reaffirming.
My Research: Challenging Documentary Aesthetics
As part of the conference, I presented my research titled Redefining Traditional Aesthetic Norms in Documentary Cinema Through Experimentation and Innovation in Narrative Structure and Storytelling Techniques. My study examines the evolving aesthetics of interactive documentaries.
Photo credit to Mirror
One of my key arguments is that interactive documentaries should not be seen merely as digital extensions of traditional documentary cinema but as a distinct artistic form with its own aesthetic principles. To explore this, I conducted an experiment based on one Armenian (“The Subscriber Is Temporarily Unreachable” 2014, 21:59) by Arman Yeritsyan) and one Luxembourgish (“The Invitation” 2022, 78:55 by Fabrizio Maltese) documentary film, exaggerating the interactivity of the medium using techniques that are currently beyond the reach of available technology. By integrating these thought experiments with my research findings, I sought to clarify the aesthetic characteristics of both traditional and interactive documentary cinema, taking into account contemporary advancements such as deepfakes.
Ultimately, my research proposes new definitions for documentary and interactive documentary cinema, grounded in a balance between technological possibilities and the philosophical essence of nonfiction storytelling. The discussion following my presentation was engaging, with scholars showing keen interest in my theoretical framework. Their feedback provided valuable insights that will help refine my work further.
Final Thoughts and Gratitude
Reflecting on my experience at Visible Evidence 2024, I see it not just as a conference, but as a convergence of minds dedicated to exploring the power of documentary cinema. It reinforced my belief that storytelling – whether through traditional or interactive forms – remains one of the most potent tools we have to understand.
Beyond the intellectual stimulation, the conference allowed me to form meaningful connections with professors, doctoral researchers and documentary filmmakers from across the globe. These interactions will undoubtedly have a long-term impact on my career. So I am grateful to the Doctoral School in Humanities and Social Sciences (DSHSS) at the University of Luxembourg for providing financial support for my participation. I also extend my deepest appreciation to my doctoral supervisor Dr. Gian Maria Tore whose critical guidance is invaluable in shaping my academic journey.
World-renowned documentary film scholar Michael Renov, the founder of the VE conference
I hope one day to see one of the biggest documentary cinema annual academic conferences in the world hosted in Luxembourg by the University of Luxembourg or in Yerevan by the Yerevan State Film and theatre Institute.
Seg Kirakossian
Doctoral Researcher at the University of Luxembourg
Think about placing a sleek modern chair next to an intricately carved antique one in a photograph. The stark contrast between their styles and materials immediately grabs your attention and sparks curiosity. That’s the Rule of Juxtaposition at work – a compositional technique in photography that highlights the contrast between two opposing elements, whether in size, texture, color, or concept. This contrast not only draws attention but also creates a deeper narrative within the image.
The Rule of Juxtaposition leverages the human brain’s natural tendency to compare and make sense of differences. By carefully placing contrasting elements side by side, photographers can create visually compelling and thought-provoking images.
Why It Works
Visual Contrast:
Juxtaposition enhances the differences between objects, making them more noticeable. For instance, placing a vibrant red apple against a monochrome background makes the apple’s color more vivid. This visual tension draws the viewer’s eye and keeps their attention focused on the image.
Evolutionary and Psychological Perspective
Our brain’s sensitivity to contrast has roots in evolutionary biology. From a survival standpoint, the ability to detect differences—such as spotting a predator hiding in shadows or distinguishing ripe fruit from unripe—was critical. This innate ability to recognize contrasts continues to influence how we perceive and respond to visual stimuli today.
Psychologically, juxtaposition creates cognitive dissonance—a state where the brain must reconcile opposing elements. This dissonance stimulates curiosity and engages deeper thought, as the viewer tries to understand the relationship between the contrasting elements. Studies in neuroaesthetics suggest that images combining opposites activate regions of the brain associated with reward and novelty processing, enhancing the emotional and intellectual impact of the image.
Storytelling
Juxtaposition goes beyond aesthetics to convey meaning and emotion. A photograph of an old bicycle leaning against a shiny sports car, for example, contrasts nostalgia with modernity, creating a narrative about changing times. Such contrasts allow photographers to communicate complex ideas and evoke strong emotional responses in a single frame.
Cultural and Artistic Influences
Juxtaposition has been a powerful tool across centuries of art and photography:
Michelangelo’s “Creation of Adam” (Sistine Chapel Ceiling): The juxtaposition of divine and human forms, with God’s dynamic energy contrasted against Adam’s languid pose, emphasizes the connection and distinction between the two.
Pieter Bruegel the Elder’s “The Harvesters”: The contrast between laborers working the fields and villagers relaxing under a tree highlights the duality of toil and leisure in rural life.
Salvador Dalí’s “The Persistence of Memory”: The juxtaposition of melting clocks and a stark, barren landscape creates a surreal exploration of time and decay.
Modern photography continues to utilize juxtaposition to craft striking visuals. A photograph of a vibrant flower growing through cracked concrete, for example, symbolizes resilience and contrasts life with desolation.
In Picture SKRC 4.1, the juxtaposition of sleek glass architecture and weathered stone walls creates a dynamic interplay between modernity and tradition. Conversely, Picture SKRC 4.2 lacks such contrasts, resulting in a less engaging and impactful composition.
Think about cutting a sandwich diagonally into two triangles – it feels different than just cutting it straight across, right? That’s how the Golden Triangles Rule works in photography. It’s all about creating energy and balance by dividing your picture into triangles. Imagine drawing a diagonal line from one corner of your photo to the opposite corner, just like slicing that sandwich. Then, draw two more lines from the other corners that meet the diagonal at right angles. These lines create triangles in your photo, and the goal is to place important lines or shapes, like a sloping hill, a leaning tree, or the edge of a roof, along these diagonal lines. Key objects, like a person or animal, can stand out more when placed where the lines meet.
The Golden Triangles Rule is a photography technique that adds movement and flow to your pictures by encouraging you to align elements with diagonal lines. Unlike the calm and orderly nature of symmetry, this rule gives your photo a dynamic and adventurous feel.
Why It Works
Movement and Energy:
Triangles naturally make an image feel more dynamic. The combination of their sharp angles and directional energy creates visual tension, adding excitement and drama to your photo.
Cognitive Efficiency:
Triangles help structure your photo in a way that’s easy for the brain to process. The diagonal lines guide the viewer’s attention across the image, leading them to explore different areas rather than focusing on just one spot.
Aesthetic Pleasure:
Triangles bring a professional and artistic touch to photos. The intersecting lines of the Golden Triangles add depth and layers, making an image look visually appealing while maintaining a sense of balance.
Picture SKRC 6.2.1 Golden TrianglesPicture SKRC 6.2.2 Golden Triangles
Cultural and Artistic Influences
Triangular compositions have been used in art and photography for centuries to create striking and dynamic visuals. Examples from the fine arts can be Raphael’s “The Holy Family with a Lamb” and Caravaggio’s “The Supper at Emmaus“.
In modern photography, triangular divisions are often used to add a contemporary, dynamic touch to landscapes and portraits, creating drama and focus through careful alignment with the Golden Triangles grid.
In Pictures SKRC 6.1.2 you can see how a building’s slant angle fits neatly within the Golden Triangles, creating a balanced yet dynamic photo.
The official program has been published for the 30th edition of Visible Evidence, the foremost international scientific conference on documentary cinema. I am honored to announce that I will present a paper this year contributing to the discourse on the aesthetics of documentary cinema.
This milestone edition of Visible Evidence is hosted by the School of Media, Film and Journalism of Monash University (Melbourne, Australia) in cooperation with Australia’s National Museum of Screen Culture ACMI from December 17 to December 20, 2024. The conference, renowned for its transdisciplinary approach attracts participants from across the globe, including scholars and researchers from leading institutions such as the University of Cambridge, Harvard University, the University of Sao Paulo, York University, the University of Edinburgh, the University of Sydney, UCLA, the University of Amsterdam, Tokyo University of Foreign Studies and many other. This gathering will explore a wide range of topics, including the impact of new technologies, ethical considerations, innovative techniques and the broader societal implications of documentary filmmaking.
The theme of this year’s conference, “Decentering Documentary: New Visions and Perspectives”, aims to interrogate traditional frameworks of documentary production and critique, challenging existing centers of power, vision, and perspective. This paper aligns with one of the conference’s principal objectives: decolonizing documentary studies by amplifying diverse voices and perspectives. Particularly, my study is grounded in an analysis of Armenian and Luxembourgish documentary films – cinematic entities that remain underrepresented in the academic literature on documentary cinema.
My Contribution to the Conference
I will be representing the University of Luxembourg, presenting a paper titled “Redefining Traditional Aesthetic Norms in Documentary Cinema Through Experimentation and Innovation in Narrative Structure and Storytelling Techniques“.
This paper seeks to initiate a dialogue on the need to reassess conventional principles used in evaluating documentary aesthetics especially when it comes to the new possible mode of documentary filmmaking – interactive documentary. The aforementioned challenges the traditional principles of the six modes of documentary established by Bill Nichols. The experiment I conducted for this paper is prompted by the rapid advancements in audiovisual technologies and artificial intelligence, which will bring new possibilities for viewer engagement and dynamic narrative structures.
In particular, with this paper I want to find the answers for the following questions: Can the film be considered a documentary if faking technologies are used? Can a documentary adapt in real time to the emotional state of the viewer? What if a documentary could change based on collective audience input across different geographical locations? Is it possible for a documentary to continuously evolve even after its release, influenced by ongoing real-world events? How can interactivity be taken beyond individual engagement and become a form of social intervention or activism? Could a documentary be co-created by its subjects and viewers, blurring the lines between filmmaker, subject, and audience?
My participation in this conference is an opportunity to engage with scholars, foster academic collaborations, and contribute to the ongoing discourse on the evolution of documentary cinema studies.
Acknowledgments
I express my sincere gratitude to the Doctoral School in Humanities and Social Sciences (DSHSS) at the University of Luxembourg for providing the financial support that enabled my participation in this conference. This financial support has been essential for my participation and presentation of my research at this prominent international event. The University of Luxembourg, home to 1,000 doctoral candidates and 7,000 students, is dedicated to advancing a broad spectrum of academic research, including within the Institute of Romance Studies, Media and Arts, the Doctoral School in Humanities and Social Sciences, and the Faculty of Humanities, Education, and Social Sciences.
I am also deeply thankful to my doctoral supervisor at the University of Luxembourg Dr. Gian Maria Tore whose critical guidance has been essential in refining and strengthening my work.
Additionally, I would like to express my appreciation to Dr. Siranush Galstyan, who was my supervisor during my first PhD program at the Yerevan State Theatre and Film Institute (2013-2016). Her mentorship during the early stages of my doctoral studies was invaluable.
About Visible Evidence
Established 30 years ago by prominent American scholar Michael Renov (University of Southern California) alongside Jane Gaines, Bill Nichols, Brian Winsto, Visible Evidence has become a cornerstone of global documentary film studies. Through its annual conferences and publications, Visible Evidence continues to advance a transdisciplinary approach, bridging gaps between theoretical frameworks and the practicalities of documentary filmmaking. Visible Evidence began as a conference at Duke University in 1993. Subsequent editions have been held on five continents, most recently in New York City, USA (2011), Canberra, Australia (2012), Stockholm, Sweden (2013), New Delhi, India (2014), Toronto, Canada (2015), Bozeman, USA (2016), Buenos Aires, Argentina (2017), Bloomington, Indiana, USA (2018), Gdansk, Poland (2022), University of Udine, Italy (2023).
I am privileged to contribute to this year’s discussions and to participate in an event that promises to illuminate new pathways in the study of documentary aesthetics.
Seg Kirakossian (Sergey Kirakosyan) Doctoral researcher at the University of Luxembourg
Tenth International Conference on Communication & Media Studies Université Paris 1 Panthéon-Sorbonne (Paris, France). September 2025 Paper presentation: Empiric Research Framework for the Assessment of the Impact of Material Constraints on Aesthetic Value of Documentary Films: A Concept Paper on an Empirical Research Methodology
Visible Evidence XXX – Decentring Documentary: New Visions and Perspectives Monash University (Melbourne, Australia). December 17 – 20, 2024 Paper presentation: Redefining Traditional Aesthetic Norms in Documentary Cinema Through Experimentation and Innovation in Narrative Structure and Storytelling Techniques
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