Category: NEWS

EcoDocu 2024 – Memories from Barcelona

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.

filming during the EcoDocu project in Barcelona 2024
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.
  • EcoDocu (2024, Barcelona, Spain): Organized and hosted by Associació Formació i Sensibilització Barcelona, financed by Spanish Erasmus+ National Agency INJUVE.

What’s Next? Be Part of the Story

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

#EcoDocu #MediaAdvocacy #DocumentaryForChange #EnvironmentalEducation

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.

Visible Evidence Conference in Australia

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