Filming armed conflicts means putting the filmmakers at risk – physically and professionally. Tough questions emerge about the cameraman/filmmaker’s role in reporting dangerous conflict situations – are we creating more danger than we are reporting – are we influencing the course of action by witnessing it – are we observers or participants – and how do we make use of potentially unique material when we get it? In the three programmes of shooting the shooting, death is a common denominator, but the role of the camera is very different. One programme follows a single military operation and lets the camera do all the talking. The second chronicles five years of uprising and violence through the prism of five destroyed cameras. And the third shows reporters caught between the background story they set out to do and the dramatic events that their camera keeps stumbling into.
…Read more
Less…
-
From UPF
April 28, La Arandia military base, Southern Columbia. Romeo Langlois embarked a helicopter of ‘Jungla’ anti-narcotic commandos of the Colombian army. They… -
From UPF
Eszter Cseke’s and András S. Takács’s documentary series introduces people who dedicate their whole lives to an idea or a cause. Sometimes… -
From UPF
When his fourth son, Gibreel, is born in 2005, self-taught cameraman Emad Burnat, a Palestinian villager, gets his first camera. At the same time in his village of…