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